Adaa 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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Untitled
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 Adaa Art Dealers Association Of America
Materials
Canvas, Oil
Walnut Queen Anne Balloon Seat Side Chair
Located in West Chester, PA
Yoke crest, solid splat, slip seat. Cabriole legs terminating in slipper feet. Wonderful stature. Philadelphia, PA, circa 1740.
Category
18th Century American Queen Anne Antique Adaa Art Dealers Association Of America
Materials
Walnut
Late 18th Century English Faience Planter
Located in Incline Village, NV
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...
Category
Late 18th Century English Georgian Antique Adaa Art Dealers Association Of America
Materials
Faience
Georgian Mahogany 18th Century Tea Caddy, circa 1780
Located in Incline Village, NV
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 ...
Category
1780s English Georgian Antique Adaa Art Dealers Association Of America
Materials
Wood
"Untitled (Arrow Up)" LED illumination
By Todd Pierce
Located in Scottsdale, AZ
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 ...
Category
2010s Adaa Art Dealers Association Of America
Materials
Mixed Media
Annual Lavatera a native of Spain
By Frances Jauncey Ketchum
Located in New York, NY
Signed (at lower right): FJK [partial]
Category
Early 20th Century American Realist Adaa Art Dealers Association Of America
Materials
Watercolor
Autumn Roses
By Stone Roberts
Located in New York, NY
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...
Category
Early 2000s Contemporary Adaa Art Dealers Association Of America
Materials
Linen, Oil
San Pedro Harbor
By Paul Sample
Located in New York, NY
It is infrequent, to say the least, that a diagnosis of tuberculosis proves fortuitous, but that was the event, in 1921, that set Paul Starrett Sample on the road to becoming a professional artist. (The best source for an overview of Sample’s life and oeuvre remains Paul Sample: Painter of the American Scene, exhib. cat., [Hanover, New Hampshire: Hood Museum of Art, 1988] with a detailed and definitive chronology by Sample scholar, Paula F. Glick, and an essay by Robert L. McGrath. It is the source for this essay unless otherwise indicated.) Sample, born in Louisville, Kentucky, in 1896 to a construction engineer and his wife, spent his childhood moving with his family to the various locations that his father’s work took them. By 1911, the family had landed in Glencoe, Illinois, settling long enough for Paul to graduate from New Trier High School in 1916. Sample enrolled at Dartmouth College, in Hanover, New Hampshire, where his interests were anything but academic. His enthusiasms included the football and basketball teams, boxing, pledging at a fraternity, and learning to play the saxophone. After the United States entered World War I, Sample, to his family’s dismay, signed on for the Naval Reserve, leading directly to a hiatus from Dartmouth. In 1918 and 1919, Sample served in the U.S. Merchant Marine where he earned a third mate’s license and seriously contemplated life as a sailor. Acceding to parental pressure, he returned to Dartmouth, graduating in 1921. Sample’s undergraduate life revolved around sports and a jazz band he formed with his brother, Donald, two years younger and also a Dartmouth student. In November 1933, Sample summarized his life in a letter he wrote introducing himself to Frederick Newlin Price, founder of Ferargil Galleries, who would become his New York art dealer. The artist characterized his undergraduate years as spent “wasting my time intensively.” He told Price that that “I took an art appreciation course and slept thru it every day” (Ferargil Galleries Records, circa 1900–63, Archives of American Art, Smithsonian Institution, available on line).
In 1920, Donald Sample contracted tuberculosis. He went for treatment to the world-famous Trudeau Sanitorium at Saranac Lake, in New York State’s Adirondack Mountains for the prescribed regimen of rest, healthful food, and fresh air. Visiting his brother in 1921, Paul also contracted the disease. Tuberculosis is highly contagious, and had no certain cure before the development of streptomycin in 1946. Even for patients who appeared to have recovered, there was a significant rate of recurrence. Thus, in his letter to Price, Sample avoided the stigma conjured by naming the disease, but wrote “I had a relapse with a bad lung and spent the next four years hospitalized in Saranac Lake.” The stringent physical restrictions imposed by adherence to “the cure” required Sample to cultivate an alternate set of interests. He read voraciously and, at the suggestion of his physician, contacted the husband of a fellow patient for instruction in art. That artist, then living in Saranac, was Jonas Lie (1880–1940), a prominent Norwegian-American painter and an associate academician at the National Academy of Design. Lie had gained renown for his dramatic 1913 series of paintings documenting the construction of the Panama Canal (The Metropolitan Museum of Art, New York; United States Military Academy, West Point, New York). Primarily a landscape artist, Lie had a particular affinity for scenes with water. His paintings, impressionistic, atmospheric, and brushy, never strayed from a realistic rendering of his subject. Sample regarded Lie as a mentor and retained a lifelong reverence for his teacher. Sample’s early paintings very much reflect Lie’s influence.
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In 1925, “cured,” Sample left Saranac Lake for what proved to be a brief stay in New York City, where his veteran’s benefits financed a commercial art course. The family, however, had moved to California, in the futile hope that the climate would benefit Donald. Sample joined them and after Donald’s death, remained in California, taking classes at the Otis Art Institute in Los Angeles. In Sample’s account to Price, “I couldn’t stomach the practice of painting a lot of High Sierras and desert flowers which seemed to be the only kind of pictures that were sold here so I got a job teaching drawing and painting at the art school of the University of Southern California.” Initially hired as a part-time instructor, Sample progressed to full-time status and ultimately, by the mid-1930s, to the post of Chairman of the Fine Art Department. Sample, however, did not want to wind up as a professor. “Teaching is all right in small doses,” he wrote, “but I have a horror of drifting into being a college professor and nothing more.” At the same time as he taught, Sample began to exhibit his work in a variety of venues at first locally, then nationally. Though he confessed himself “a terrible salesman,” and though occupied with continued learning and teaching, Sample was nonetheless, ambitious. In 1927, he wrote in his diary, “I am eventually going to be a painter and a damned good one. And what is more, I am going to make money at it” (as quoted by Glick, p. 15). In 1928, Sample felt sufficiently solvent to marry his long-time love, Sylvia Howland, who had also been a patient at Saranac Lake. The Howland family were rooted New Englanders and in summertime the Samples regularly traveled East for family reunion vacations.
While the 1930s brought serious hardship to many artists, for Paul Sample it was a decade of success. Buttressed by the financial safety net of his teacher’s salary, he painted realist depictions of the American scene. While his work addressed depression-era conditions with a sympathetic eye, Sample avoided the anger and tinge of bitterness that characterized much contemporary realist art. Beginning in 1930, Sample began to exhibit regularly in juried exhibitions at important national venues, garnering prizes along the way. In 1930, Inner Harbor won an honorable mention in the Annual Exhibition of the Art Institute of Chicago. That same year Sample was also represented in a show at the Albright-Knox Gallery in Buffalo and at the Biennial Exhibition of the Corcoran Gallery of Art, Washington, D.C. In 1931, Dairy Ranch won the second Hallgarten Prize at the Annual Exhibition of the National Academy of Design, in New York. Sample also made his first appearances at the Carnegie Institute, Pittsburgh, and The Pennsylvania Academy of the Fine Arts, Philadelphia. In 1936, Miner’s Resting won the Temple Gold Medal at the Pennsylvania Academy’s Annual Exhibition. Always interested in watercolor, in 1936, Sample began to send works on paper to exhibitions at the Whitney Museum, New York.
While participating in juried exhibitions, Sample also cultivated commercial possibilities. His first New York art dealer was the prestigious Macbeth Gallery in New York, which included his work in a November 1931 exhibition. In 1934, Sample joined the Ferargil Galleries in New York, after Fred Price arranged the sale of Sample’s Church Supper to the Michele and Donald D’Amour Museum of Fine Arts in Springfield, Massachusetts. In 1937, The Metropolitan Museum of Art purchased Sample’s Janitor’s Holiday from the annual exhibition of the National Academy of Design, a notable honor.
As prestigious as this exhibition schedule may have been, by far Sample’s most visible presence in the 1930s and 1940s was the result of his relationship with Henry Luce’s burgeoning publishing empire, Time, Inc. Sample’s first contribution to a Luce publication appears to have been another San Pedro...
Category
20th Century American Modern Adaa Art Dealers Association Of America
Materials
Canvas, Oil
"Peg-Leg Beggar" Mechanical Bank, American, circa 1880
By H.L. Judd Manufacturing Company
Located in Incline Village, NV
"Peg-leg Beggar" 19th century cast iron mechanical bank was probably inspired by the many disabled Civil War veterans begging for their subsistence. The bank was manufactured by the ...
Category
1880s American Folk Art Antique Adaa Art Dealers Association Of America
Materials
Iron
No. 20-1954
By Stanley Twardowicz
Located in New York, NY
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...
Category
Mid-20th Century Abstract Adaa Art Dealers Association Of America
Materials
Enamel
"Desert Sunset"
Located in Scottsdale, AZ
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...
Category
2010s Adaa Art Dealers Association Of America
Materials
Oil, Canvas
The Japanese Corner
By Elliott Daingerfield
Located in New York, NY
A child of the American South, Elliott Daingerfield was born in Harper’s Ferry, Virginia, and raised in Fayetteville, North Carolina, where his father, C...
Category
19th Century American Impressionist Adaa Art Dealers Association Of America
Materials
Canvas, Oil
"Red Barn in Autumn"
By Romona Youngquist
Located in Scottsdale, AZ
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...
Category
2010s Adaa Art Dealers Association Of America
Materials
Canvas, Oil
Corrected RC Site Plan, 1988/92
By James Turrell
Located in Houston, TX
James Turrell
Corrected RC Site Plan, 1988/92
Ink on printed paper
35 x 45
Category
20th Century Contemporary Adaa Art Dealers Association Of America
Materials
Felt Pen, Black and White
"Plowed Field"
Located in Scottsdale, AZ
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...
Category
2010s Adaa Art Dealers Association Of America
Materials
Canvas, Oil
Euclid Avenue, Cleveland
By Lawrence Edwin Blazey
Located in New York, NY
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...
Category
Mid-20th Century American Modern Adaa Art Dealers Association Of America
Materials
Paper, Ink, Pencil
"Paradise Found"
By Romona Youngquist
Located in Scottsdale, AZ
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...
Category
2010s Adaa Art Dealers Association Of America
Materials
Canvas, Oil
RE: Mine
By McArthur Binion
Located in New York, NY
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
Category
2010s Abstract Geometric Adaa Art Dealers Association Of America
Materials
Etching
Untitled
By Louis Elle (Ferdinand)
Located in New York, NY
Oil on canvas, 14 x 12 in.
Category
Late 20th Century American Modern Adaa Art Dealers Association Of America
Materials
Canvas, Oil
"Treasury" Still Bank, American, circa 1970
By John Wright Company
Located in Incline Village, NV
"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...
Category
1970s American Folk Art Vintage Adaa Art Dealers Association Of America
Materials
Iron
Why Me
By Valton Tyler
Located in Dallas, TX
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...
Category
1990s Abstract Adaa Art Dealers Association Of America
Materials
Canvas, Oil
Copley Square, Boston
By Thomas Fransioli
Located in New York, NY
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...
Category
20th Century American Realist Adaa Art Dealers Association Of America
Materials
Canvas, Oil
Excavation
By Charles Houghton Howard
Located in New York, NY
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...
Category
20th Century American Modern Adaa Art Dealers Association Of America
Materials
Canvas, Oil
Gothic Armoire
Located in New York, NY
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...
Category
19th Century American Gothic Revival Antique Adaa Art Dealers Association Of America
Materials
Brass
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 Adaa Art Dealers Association Of America
Materials
Oil, Wood Panel
Basketful
By William Wegman
Located in New York, NY
2015, pigment print photograph, 14 x 11 inches, Edition of 12
Category
2010s Contemporary Adaa Art Dealers Association Of America
Materials
Pigment
"Batter Up"
By Todd Pierce
Located in Scottsdale, AZ
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 ...
Category
2010s Adaa Art Dealers Association Of America
Materials
Enamel, Steel
Mid-Summer
Located in Dallas, TX
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...
Category
1930s American Modern Adaa Art Dealers Association Of America
Materials
Oil, Canvas
West 74th Street
By Frederick Brosen
Located in New York, NY
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...
Category
2010s Contemporary Adaa Art Dealers Association Of America
Materials
Watercolor, Paper, Graphite
Divining Intelligence, Earth Bound, Eclipsed Shadows
By David A. Dreyer
Located in Dallas, TX
"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...
Category
2010s Abstract Adaa Art Dealers Association Of America
Materials
Canvas, Chalk, Charcoal, Oil, Graphite
South Chimney
By Randall Exon
Located in New York, NY
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...
Category
2010s Contemporary Adaa Art Dealers Association Of America
Materials
Gouache, Monotype
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 Adaa Art Dealers Association Of America
Materials
Digital Pigment
No. 12-1957
By Stanley Twardowicz
Located in New York, NY
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...
Category
Mid-20th Century Abstract Adaa Art Dealers Association Of America
Materials
Enamel
"Untitled (Cash)" LED Illumination
By Todd Pierce
Located in Scottsdale, AZ
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 ...
Category
2010s Adaa Art Dealers Association Of America
Materials
Mixed Media
Backlighted Tree, Fort Davis, Texas
By David H. Gibson
Located in Dallas, TX
"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 ...
Category
Late 20th Century Modern Adaa Art Dealers Association Of America
Materials
Silver Gelatin
Untitled (Airport Paris)
By Peter Fischli & David Weiss
Located in New York, NY
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 ...
Category
Early 2000s Contemporary Adaa Art Dealers Association Of America
Materials
Lithograph
Cliffs Near Early's Farm
By Randall Exon
Located in New York, NY
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...
Category
Early 2000s Contemporary Adaa Art Dealers Association Of America
Materials
Linen, Oil
Don't Hurt Me
By Valton Tyler
Located in Dallas, TX
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...
Category
1970s Surrealist Adaa Art Dealers Association Of America
Materials
Linen, Oil
Full Moon over Jack's Pasture
By Randall Exon
Located in New York, NY
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...
Category
2010s Contemporary Adaa Art Dealers Association Of America
Materials
Oil, Linen
Chippendale Mahogany Dish Top Tea Table
Located in West Chester, PA
Bird cage, suppressed ball pedestal, cabriole legs with carved shells terminating in ball and claw feet. Philadelphia, circa 1770.
Category
18th Century American Chippendale Antique Adaa Art Dealers Association Of America
Materials
Mahogany
Models for Synthetic Pictures, 6
By Terry Winters
Located in New York, NY
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...
Category
1990s Abstract Adaa Art Dealers Association Of America
Materials
Etching, Aquatint
Bar Harbor
Located in New York, NY
Edition: 5 or less. One of possibly 3 variants
Category
20th Century American Modern Adaa Art Dealers Association Of America
Materials
Monotype
Candle and Flowers
By David Ligare
Located in New York, NY
SAPERE AUDE. Dare to be wise. Immanuel Kant’s directive is embodied in the work of David Ligare. For thirty-five years, Ligare has dedicated his work to ...
Category
2010s Contemporary Adaa Art Dealers Association Of America
Materials
Canvas, Oil
Lachan Strand, Castletown, County Mayo, Ireland
By David H. Gibson
Located in Dallas, TX
"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 ...
Category
Late 20th Century Contemporary Adaa Art Dealers Association Of America
Materials
Silver Gelatin
White Line Flowers VIII
By Gail Norfleet
Located in Dallas, TX
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...
Category
2010s Contemporary Adaa Art Dealers Association Of America
Materials
Archival Pigment
Breakfast with Jan Groover 1978
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 Adaa Art Dealers Association Of America
Materials
Digital Pigment
Absence No. 03
By Denis Darzacq
Located in New York, NY
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...
Category
2010s Contemporary Adaa Art Dealers Association Of America
Materials
Digital Pigment
Breakfast with Paul Outerbridge 1937
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 Adaa Art Dealers Association Of America
Materials
Digital Pigment
Broome Street
By Frederick Brosen
Located in New York, NY
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...
Category
2010s Contemporary Adaa Art Dealers Association Of America
Materials
Paper, Watercolor, Graphite
Walnut Queen Anne Armchair
Located in West Chester, PA
Shell on crest, solid splat, great arm support and carved knuckles. Cabriole legs terminating in pad feet. Nice patina. Philadelphia, circa 1760.
Category
18th Century American Queen Anne Antique Adaa Art Dealers Association Of America
Materials
Walnut
Wave
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 Abstract Adaa Art Dealers Association Of America
Materials
Canvas, Oil
Mirror
By William Wegman
Located in New York, NY
2011, pigment print photograph, 14 x 11 inches, Edition of 12. signed and numbered by the artist on the reverse
Category
2010s Contemporary Adaa Art Dealers Association Of America
Materials
Pigment
Breakfast with Studio Ringl & Pit 1932
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 Adaa Art Dealers Association Of America
Materials
Digital Pigment
Tiger Maple Queen Anne Dressing Table
Located in West Chester, PA
One drawer over two, original plate brasses. Cabriole legs terminating in a faceted foot. Nicely scalloped aprons. Philadelphia, Pa. circa 1760-1770.
Category
1760s American Queen Anne Antique Adaa Art Dealers Association Of America
Materials
Maple
Untitled
By Randall Exon
Located in New York, NY
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...
Category
2010s Contemporary Adaa Art Dealers Association Of America
Materials
Oil, Board
The Wildwood Etchings
By Isca Greenfield-Sanders
Located in New York, NY
2014, set of 3 photogravures with aquatint, 18 3/4 x 18 inches each, edition of 35. Signed and numbered by the artist.
Category
21st Century and Contemporary Adaa Art Dealers Association Of America
Materials
Aquatint, Etching, Photogravure
Pink sky from airplane
By Nan Goldin
Located in New York, NY
Nan Goldin
Pink sky from airplane
2000
Cibachrome
30 x 40 inches; 76 x 102 cm
Edition of 15
Signed, titled, dated, and numbered in ink (verso)
Available f...
Category
Early 2000s Contemporary Adaa Art Dealers Association Of America
Materials
C Print, Photographic Film
Breakfast with Walker Evans 1941
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 Adaa Art Dealers Association Of America
Materials
Digital Pigment
Breakfast with Alexander Rodchenko 1934
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 Adaa Art Dealers Association Of America
Materials
Digital Pigment
Mahogany Chippendale Carved Side Chair
Located in West Chester, PA
Very unusual shell on the crest, carved volutes on the splat, acanthus carved knees. Cabriole legs with carved volutes on the knee blocks and terminating in claw and ball feet.
Category
18th Century American Chippendale Antique Adaa Art Dealers Association Of America
Materials
Mahogany