Art Dealers Association of America
Art Dealers Association of America (ADAA)
Founded in 1962, the Art Dealers Association of America is a vetted community of more than 180 top-tier galleries across the United States. Working with these member galleries, ADAA appraisers offer assessment services for artworks spanning from the Renaissance to the present day. The ADAA also arranges public forums on important art-related topics and hosts The Art Show, presented each year at New York’s Park Avenue Armory, which stands out among art fairs for its acclaimed selection of curated booths — many of which are one-artist exhibitions.to
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Item Ships From: New York City
Breakfast with Irving Penn 1947
By Anastasia Samoylova
Located in New York, NY
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...
Category
2010s Contemporary Art Dealers Association of America
Materials
Digital Pigment
Like Ice in the Sunshine II (L.A.) No. 17
By Simone Rosenbauer
Located in New York, NY
15 x 15 archival pigment print (image size 14 x 14 inches), edition 8.
Signed, titled, dated and editioned on frame label provided.
Framing also available at an additional cost.
In ...
Category
2010s Contemporary Art Dealers Association of America
Materials
Archival Pigment
Like Ice in the Sunshine II (L.A.) No. 15
By Simone Rosenbauer
Located in New York, NY
15 x 15 archival pigment print (image size 14 x 14 inches), edition 8.
Signed, titled, dated and editioned on frame label provided.
Framing also available at an additional cost.
In ...
Category
2010s Contemporary Art Dealers Association of America
Materials
Archival Pigment
Two Wood Ducks on a Flowering Branch
By Joseph Stella
Located in New York, NY
Joseph Stella was a visionary artist who painted what he saw, an idiosyncratic and individual experience of his time and place. Stella arrived in New York in 1896, part of a wave of Italian immigrants from poverty-stricken Southern Italy. But Stella was not a child of poverty. His father was a notary and respected citizen in Muro Locano, a small town in the southern Appenines. The five Stella brothers were all properly educated in Naples. Stella’s older brother, Antonio, was the first of the family to come to America. Antonio Stella trained as a physician in Italy, and was a successful and respected doctor in the Italian community centered in Greenwich Village. He sponsored and supported his younger brother, Joseph, first sending him to medical school in New York, then to study pharmacology, and then sustaining him through the early days of his artistic career. Antonio Stella specialized in the treatment of tuberculosis and was active in social reform circles. His connections were instrumental in Joseph Stella’s early commissions for illustrations in reform journals.
Joseph Stella, from the beginning, was an outsider. He was of the Italian-American community, but did not share its overwhelming poverty and general lack of education. He went back to Italy on several occasions, but was no longer an Italian. His art incorporated many influences. At various times his work echoed the concerns and techniques of the so-called Ashcan School, of New York Dada, of Futurism and, of Cubism, among others. These are all legitimate influences, but Stella never totally committed himself to any group. He was a convivial, but ultimately solitary figure, with a lifelong mistrust of any authority external to his own personal mandate. He was in Europe during the time that Alfred Stieglitz established his 291 Gallery. When Stella returned he joined the international coterie of artists who gathered at the West Side apartment of the art patron Conrad Arensberg. It was here that Stella became close friends with Marcel Duchamp.
Stella was nineteen when he arrived in America and studied in the early years of the century at the Art Students League, and with William Merritt Chase, under whose tutelage he received rigorous training as a draftsman. His love of line, and his mastery of its techniques, is apparent early in his career in the illustrations he made for various social reform journals. Stella, whose later work as a colorist is breathtakingly lush, never felt obliged to choose between line and color. He drew throughout his career, and unlike other modernists, whose work evolved inexorably to more and more abstract form, Stella freely reverted to earlier realist modes of representation whenever it suited him. This was because, in fact, his “realist” work was not “true to nature,” but true to Stella’s own unique interpretation.
Stella began to draw flowers, vegetables, butterflies, and birds in 1919, after he had finished the Brooklyn Bridge series of paintings, which are probably his best-known works. These drawings of flora and fauna were initially coincidental with his fantastical, nostalgic and spiritual vision of his native Italy which he called Tree of My Life (Mr. and Mrs. Barney A. Ebsworth Foundation and Windsor, Inc., St. Louis, illus. in Barbara Haskell, Joseph Stella, exh. cat. [New York: Whitney Museum of American Art, 1994], p. 111 no. 133).
Two Wood Ducks...
Category
20th Century American Modern Art Dealers Association of America
Materials
Color Pencil
Untitled (Boat)
By Louisa Chase
Located in New York, NY
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...
Category
20th Century Modern Art Dealers Association of America
Materials
Canvas, Oil
Japanese Girl Promenading
By Harry Humphrey Moore
Located in New York, NY
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...
Category
Late 19th Century Art Dealers Association of America
Materials
Oil, Wood Panel
Japanese Children with Tortoise
By Harry Humphrey Moore
Located in New York, NY
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...
Category
Late 19th Century Art Dealers Association of America
Materials
Oil, Wood Panel
Sunset Grip
By Louisa Chase
Located in New York, NY
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...
Category
20th Century American Modern Art Dealers Association of America
Materials
Canvas, Wax, Oil
Sabrett Hot Dog Vendors, New York City
By Neal Slavin
Located in New York, NY
24 x 24 inch digital chromogenic print
Edition 15 +3 AP
Signed, titled, dated and editioned on frame label provided
Neal Slavin, a native New Yorker, began photographing groups in 1...
Category
1970s Contemporary Art Dealers Association of America
Materials
Digital
Chasm
By Louisa Chase
Located in New York, NY
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...
Category
1980s American Modern Art Dealers Association of America
Materials
Woodcut
Grand Canyon National Park, National Park Service
By Neal Slavin
Located in New York, NY
24 x 24 inch digital chromogenic print
Edition 15 +3AP
Signed, titled, dated and editioned on frame label provided
Neal Slavin, a native New Yorker, began photographing groups i...
Category
1970s Contemporary Art Dealers Association of America
Materials
Digital
Mahayana Buddhist Center, NYC
By Neal Slavin
Located in New York, NY
13.25 x 18 inch digital chromogenic print
Edition 15 + 3AP
Signed, titled, dated and editioned on frame label provided
Neal Slavin, a native New Yorker, began photographing groups i...
Category
2010s Contemporary Art Dealers Association of America
Materials
Digital
View from the Empire State Building, Looking South
By Miguel Angel Garcia
Located in New York, NY
40 x 60 inch mineral ink print, framed
Signed on label verso
Edition 5
Miguel Ángel García was born in Madrid in 1952, and currently lives and works in Cantabria, Spain. A visual ar...
Category
2010s Contemporary Art Dealers Association of America
Materials
Archival Pigment
Weir Dam, Sullivan County, Tennessee (#2312)
By Toshio Shibata
Located in New York, NY
8 x 10 inch (image size) gelatin silver contact print, on an 11 x 14 inch sheet
Edition 10. Signed and stamped on verso.
Framing additional.
Larger sizes available - please inqui...
Category
1990s Contemporary Art Dealers Association of America
Materials
Silver Gelatin
Our story was a ghostly one
By Angela Fraleigh
Located in New York, NY
Signed on verso
Category
2010s Contemporary Art Dealers Association of America
Materials
Linen, Oil
Marble & Idaho Green Quartzite 4
By Elizabeth Turk
Located in New York, NY
Born in Pasadena and raised in Orange County, Elizabeth Turk earned her M.F.A. at the Rinehart School of Sculpture, Maryland Institute College of Art in Baltimore.
In Turk’s work, the shape of the line is created by extreme loss. That is, the reductive process of carving creates a positive, fragile form in which the absence of the original material is a focus. Turk encourages us to consider how nature has shaped these organic materials long before the artist’s manipulation of them into new forms. When viewed as components in a complex natural system, their singular beauty and inherent mystery is revealed. Turk compels us to view works of art not only as objects to be coveted and collected, but also as expressions of the natural world and our evolving relation to it.
A recipient of numerous awards, including a MacArthur Foundation Fellowship (2010), a Barnett and Annalee Newman Foundation Fellowship (2010), and a Smithsonian Artist Research Fellowship (2011), Turk is internationally recognized for transforming her signature medium of marble into strikingly intricate objects that defy convention and challenge our preconceptions of what marble can do. Through the use of electric grinders, dental tools...
Category
2010s Contemporary Art Dealers Association of America
Materials
Stone, Marble
JFK, London
By Larry Burrows
Located in New York, NY
Larry Burrows Collection and copyright stamps on verso.
Printed 2004
Category
1960s Other Art Style Art Dealers Association of America
Materials
Silver Gelatin
Shinjuku Ward, Tokyo (0960-04)
By Yoko Ikeda
Located in New York, NY
20 x 24 inch type-c print
Edition 10. Signed on verso.
Throughout her career, photographer Yoko Ikeda has been finding poetry in the prosaic, and mystery in the mundane. Her photog...
Category
2010s Contemporary Art Dealers Association of America
Materials
C Print
Untitled (Sunset with Hands)
By Louisa Chase
Located in New York, NY
Signed (at lower right): Louisa Chase
Category
Late 20th Century American Modern Art Dealers Association of America
Materials
Ink, Watercolor
Tourists Viewing the Temple of Karnak, Egypt
By Eleanor Parke Custis
Located in New York, NY
Eleanor Park Custis painted scenes as varied as the artist's travels: from her hometown of Washington, D.C., to the coastal towns of New England; from the prosperous fishing villages of Brittany, to Venice and the mountain villages and lakes of northern Italy.
While Custis's subjects are diverse, her style is consistent and distinctive throughout this body of work. Her use of flat areas of color delineated by dark contours is reminiscent of the aesthetics of woodblock printing. Like many artists of the day, she was profoundly influenced by Japanese woodblock prints, and her adaptation of the aesthetic by 1924 led to her most productive artistic period.
Eleanor Custis hailed from a socially prominent Washington, D.C., family. She was distantly related to Martha Custis Washington, America's first First Lady. Custis began three years of formal art training in the autumn of 1915 at the Corcoran School of Art in Washington, and was guided and inspired by Impressionist artist Edmund C. Tarbell, one of the Ten American Painters, who became the Corcoran School's principal in 1918. Custis exhibited widely in many of the Washington art societies and clubs for much of her career. She was also a frequent exhibitor at the Grand Central Art Galleries in New York City; her last one-woman show there was in April 1945.
Custis's mature style emerged in scenes of the streets, wharves, and drydocks of seacoast villages from Maine to Massachusetts, which she visited during the summers of 1924 and 1925. She was working in Gloucester, Massachusetts in August 1924, and painted several gouaches of the town's wharves and winding streets, including In Gloucester Harbor and At the Drydock, Gloucester. During her stay, Custis may have met Jane Peterson or at least must have seen her work, the best of which was executed in Gloucester during the preceding ten years. The similarity between their styles is unmistakable, but, while it may be tempting to suggest that Custis was influenced by Peterson during her summer in Gloucester, the connection between their work is probably more a case of shared aesthetics and common European influences.
Custis expanded her subject repertoire with three trips to Europe between 1926 and 1929, and was inspired by the Old World charm of Holland, northern France, Switzerland, and Italy, leading to such works as New Kirk, Delft, Holland, Market Day in Quimper, At the Foot of the Matterhorn, and The Town Square, Varenna. A Mediterranean cruise in 1934 introduced her to the Near East, and the bustling, colorful streets and bazaars of Cairo, captured in works like A Street in Cairo, Egypt and A Moroccan Jug...
Category
20th Century American Realist Art Dealers Association of America
Materials
Paper, Gouache
Ota Ward, Tokyo (0995-02)
By Yoko Ikeda
Located in New York, NY
20 x 24 inch type-c print
Edition 10. Signed on verso.
Throughout her career, photographer Yoko Ikeda has been finding poetry in the prosaic, and mystery in the mundane. Her photog...
Category
2010s Contemporary Art Dealers Association of America
Materials
C Print
Rainbows
By Anastasia Samoylova
Located in New York, NY
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...
Category
2010s Contemporary Art Dealers Association of America
Materials
Archival Pigment
Untitled (Black Sea)
By Louisa Chase
Located in New York, NY
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...
Category
20th Century American Modern Art Dealers Association of America
Materials
Woodcut
Nikko City, Tochigi Prefecture (C-2245)
By Toshio Shibata
Located in New York, NY
40 x 50 inch type-c print, edition 10.
Signed, titled, dated and editioned on label verso.
SMALLER SIZES AVAILABLE - PLEASE INQUIRE.
Toshio Shibata is one of Japan's leading landsc...
Category
21st Century and Contemporary Contemporary Art Dealers Association of America
Materials
C Print
Esch-sur-Alzette Footbridge, Grand Duchy of Luxembourg
By Toshio Shibata
Located in New York, NY
100 x 150 cm Lambda print, edition 5; signed, titled, dated and editioned on label verso. We have one printavailable already professionally mounted and framed ($2500 additional); if ...
Category
2010s Contemporary Art Dealers Association of America
Materials
Lambda
Hanno City, Saitama Prefecture (C-0602)
By Toshio Shibata
Located in New York, NY
40 X 50 inch chromogenic print, edition 10.
Framed to 49 x 58 inches, in white wood frame.
Signed, titled, dated and editioned on label verso.
Toshio Shibata is one of Japan's lead...
Category
21st Century and Contemporary Contemporary Art Dealers Association of America
Materials
C Print
Rome, Italy
By Luca Campigotto
Located in New York, NY
45 x 55.5 inch pure pigment print (framed size)
Signed, titled, dated and editioned on label verso
Edition 15 (includes all sizes)
Framed in a charcoal gray frame
Luca Campigotto us...
Category
2010s Contemporary Art Dealers Association of America
Materials
Archival Pigment
Pears in a Row
By Stone Roberts
Located in New York, NY
Signed and dated (at lower right): J. STONE ROBERTS./ 2004.
Category
Early 2000s Contemporary Art Dealers Association of America
Materials
Oil
African Agapanthus, or Blue Lily, a native of the Cape
By Frances Jauncey Ketchum
Located in New York, NY
Signed (at lower right): FJK
Category
Early 19th Century American Realist Art Dealers Association of America
Materials
Watercolor
Three Cacti
By Robert Minervini
Located in New York, NY
Signed and dated (on top edge of canvas): Robert Minervini 19
Category
2010s Contemporary Art Dealers Association of America
Materials
Acrylic
Untitled (Small Drawing #4)
By Lily Cox-Richard
Located in New York, NY
Hammered lead on paper
Signed and dated (on verso): LCR 2014
Category
2010s Contemporary Art Dealers Association of America
Materials
Metal
Bitter Quassia, a native of Surinam
By Frances Jauncey Ketchum
Located in New York, NY
Signed (at lower right): FJK
Category
Early 19th Century American Realist Art Dealers Association of America
Materials
Watercolor
Split Ring Image C
By Robert Mangold
Located in New York, NY
Associated with the Minimalist art movement of the 1960s, Mangold developed a reductive vocabulary based on geometric forms, monochromatic color, and an emphasis on the flatness of t...
Category
21st Century and Contemporary Art Dealers Association of America
Materials
Woodcut
Blue Coat
By Alex Katz
Located in New York, NY
Image size: 24 x 12 inches
Edition of 30
Category
1990s Art Dealers Association of America
Materials
Aquatint
Distant Muses
By Brice Marden
Located in New York, NY
Brice Marden
Distant Muses
2000
Screenprint
23 1/2 x 19 1/8 inches; 60 x 49 cm
Edition of 300
Signed, dated, and numbered in graphite (lower recto)
Frame available upon request
Available from Matthew Marks...
Category
Early 2000s Contemporary Art Dealers Association of America
Materials
Screen
Celadon Muse
By Brice Marden
Located in New York, NY
Brice Marden
Celadon Muse
2003
Two color etching / one color lithograph
22 x 30 inches; 56 x 76 cm
Edition of 45
Signed, dated, and numbered in graphite (lower recto)
Frame available...
Category
Early 2000s Contemporary Art Dealers Association of America
Materials
Etching, Lithograph
Like Ice in the Sunshine II (L.A.) No. 34
By Simone Rosenbauer
Located in New York, NY
15 x 15 archival pigment print (image size 14 x 14 inches), edition 8.
Signed, titled, dated and editioned on frame label provided.
Framing also available at an additional cost.
In ...
Category
2010s Contemporary Art Dealers Association of America
Materials
Archival Pigment
Like Ice in the Sunshine II (L.A.) No. 56
By Simone Rosenbauer
Located in New York, NY
15 x 15 archival pigment print (image size 14 x 14 inches), edition 8.
Signed, titled, dated and editioned on frame label provided.
Framing also available at an additional cost.
In ...
Category
2010s Contemporary Art Dealers Association of America
Materials
Archival Pigment
"Blue Angel"
By Milt Kobayashi
Located in Scottsdale, AZ
There is a quiet sophistication in Milt Kobayashi’s painted canvases,
summoning a pensive, ethereal feeling in the viewer. Kobayashi’s
subjects are people from another time and place...
Category
2010s Art Dealers Association of America
Materials
Canvas, Oil
The Fungoid Rock
By Brice Marden
Located in New York, NY
Brice Marden
The Fungoid Rock
1996-97
Etching and sugarlift aquatint on vintage Richard de Bas paper
19 1/4 x 15 3/4 inches; 50 x 40 cm
Edition of 45
Signed, dated, and numbered in g...
Category
1990s Contemporary Art Dealers Association of America
Materials
Etching, Aquatint
CHAMBERED NAUTILUS
By Julio Larraz
Located in New York, NY
Etching, aquatint and sugarlift print of a Still-Life on a table. Edition of 100.
Category
1980s Contemporary Art Dealers Association of America
Materials
Etching, Aquatint
Nevis Letter
By Brice Marden
Located in New York, NY
Brice Marden
Nevis Letter
2009
Etching
30 x 22 1/2 inches; 76 x 57 cm
Edition of 45
Signed, dated, and numbered in graphite (lower recto)
Frame available upon request
Available from Matthew Marks...
Category
Early 2000s Contemporary Art Dealers Association of America
Materials
Etching
From: You Are The Weather
By Roni Horn
Located in New York, NY
Two-color silkscreen on Arches,
20 x 24” (50,7 x 60,4 cm),
in wooden frame, 20 3/4 x 24 3/4” (54,4 x 64,5 cm),
printed by Atelier für Siebdruck, Lorenz Boegli, Zurich,
Ed. 60/XX, sig...
Category
1990s Art Dealers Association of America
Materials
Screen
CROWNED VESSEL 11
By Ruby Rumie
Located in New York, NY
ceramic vessel with semi-matte silver plated brass and matte acrylic crown
Category
21st Century and Contemporary Art Dealers Association of America
Materials
Brass
Drawings to Benefit The Foundation for Contemporary Performance Arts, Inc.,
By Ellsworth Kelly
Located in New York, NY
Publisher: Leo Castelli Gallery, New York
Signed in pencil, lower margin
Category
1980s Art Dealers Association of America
Materials
Offset
Untitled [Open Mouthed Dragon]
Located in New York, NY
Ink, colored marker on paper
Category
Late 20th Century Art Dealers Association of America
Materials
Paper, Ink, Permanent Marker
Untitled [Black Forms]
Located in New York, NY
Marker on paper
Category
Late 20th Century Art Dealers Association of America
Materials
Paper, Permanent Marker
Blue Swallow Motel, Tucumcari, New Mexico
By David Graham
Located in New York, NY
30 x 40 inch type-c print. Edition 25.
Signed, titled, dated and editioned on frame label.
Other sizes available - please inquire.
For more than thirty years, David Graham, has produced photographic images infused with both compassion and humor, as he has documented the homes we have built, our lives both public and private, and a purely American expression of “freedom.”
Graham was born in Abington, Pennsylvania, in 1952. He received a BA from The University of the Arts, and his MFA from the Tyler School of Art, both in Philadelphia. He studied under Ray K. Metzker and Will Larson, and was mentored by Emmet...
Category
21st Century and Contemporary Contemporary Art Dealers Association of America
Materials
C Print
Conjunction
By Adriana Marmorek
Located in New York, NY
ADRIANA MARMOREK
CONJUNCTION, 2020
porcelain, blown glass
11 x 7 x 7 in. 27.9 x 17.8 x 17.8 cm.
flower
Category
2010s Contemporary Art Dealers Association of America
Materials
Porcelain, Blown Glass
Raised Eyebrows / Furrowed Foreheads: Crooked Made Straight
By John Baldessari
Located in New York, NY
9-color silkscreen print on plexiglass,
5 x 12” (12,5 x 31cm)
Printed by Atelier für Siebdruck,
Lorenz Boegli, Zurich
Ed. 45/XX, signed and numbered certificate
Category
Early 2000s Art Dealers Association of America
Materials
Screen
Still Life with Apples and Basket
By David Ligare
Located in New York, NY
Signed and dated (at lower right): L; (on verso)" D. Ligare / 2014
Category
2010s Contemporary Art Dealers Association of America
Materials
Canvas, Oil
Green Column/Figure
By Robert Mangold
Located in New York, NY
Associated with the Minimalist art movement of the 1960s, Mangold developed a reductive vocabulary based on geometric forms, monochromatic color, and an emphasis on the flatness of t...
Category
21st Century and Contemporary Art Dealers Association of America
Materials
Etching, Woodcut
RAVIOLI DI TONNO MARCO POLO
Located in New York, NY
Decal printed on porcelain plate. Edition of 510. Depiction of a wrapped ravioli.
Category
1960s Modern Art Dealers Association of America
Materials
Porcelain
TAPESTRY OF FLOWERS
By Jean Lurçat
Located in New York, NY
canvas tapestry stretched.
floral
embroidery
Category
20th Century Contemporary Art Dealers Association of America
Materials
Tapestry, Canvas
Causis Plantarum Petal
By Adriana Marmorek
Located in New York, NY
ADRIANA MARMOREK
CAUSIS PLANTARUM PETAL, 2019
porcelain, blown glass
14.57 x 7.09 x 4.72 in. 37 x 18 x 12 cm.
flower
Category
2010s Contemporary Art Dealers Association of America
Materials
Porcelain, Blown Glass
You've never seen Gummy Bears like this before! "Trio of Gummy Bears"
By John Schieffer
Located in Scottsdale, AZ
"Candy is so colorful because we are drawn to eat colorful foods like fruit. So much of what I try to do is to create a painting that acts as a giant red shiny button that an observe...
Category
2010s Art Dealers Association of America
Materials
Birch, Oil, Wood Panel
STRONG MAN
By Julio Larraz
Located in New York, NY
Edition of 30
circus
ballerina
Category
1990s Contemporary Art Dealers Association of America
Materials
Screen
Boathouse
By Randall Exon
Located in New York, NY
Oil on panel
Category
2010s Contemporary Art Dealers Association of America
Materials
Panel, Oil
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