Adaa Art Dealers Association Of America

Signed by artist

English or Irish tray top tea table with raised molding on the aprons and moving down knees. Finely detailed and bold moldings around the tray. Cabr...

Bright Shores, 2020 Oil on linen 34 x 47 inches

Carved ostrich carousel animal. Made by Dentzel Carousel Company in Philadelphia., circa 1890-1900. Considered one of the hardest animals to carve bec...

Alex Katz uses outline drawings, called “cartoons”, as templates to transfer full size images onto the canvas prior to painting. Rendered in red chal...

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 ...

Signed and dated (at lower right): L; (on verso): D. Ligare / 2018

Fluted stiles, rare elaborate carved splat, acanthus carved knees, two shells and cabriole legs terminating in claw and ball feet. Philadelphia, PA, circa 1760-1775.

Abstract lithograph in an edition of 85

Signed and dated (on verso): Robert Minervini 2019

Ross Bleckner Beginners and Others, 2007 Color aquatint etching 29 x 28 inches Edition of 35

Signed and dated (on top edge of canvas): Robert Minervini 19

"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...

oil painting on gessoed paper. trees, nature, green, landscape

Signed and dated (on verso): Angela Fraleigh 2021

Ken Price Hermit Crab Cup 1972 Silkscreen on paper Print: 28 x 22 inches; 71 x 56 cm Frame: 30 5/8 x 24 3/4 inches; 78 x 63 cm Edition of 60 Signed, title...

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...

Signed (at lower right): LC 79

Signed and dated (at lower left): J. STONE ROBERTS. /2019/20.

Fine quality circa 1790 Georgian letter box, with three compartment fitted interior (see image). Exterior has original double brass hinged slope top with serpentine shaped front, and...

aquatint and embossing on paper. plate 19 3/4 x 13 3/4 in. paper 30 3/4 x 23 in.

Signed and dated (on verso): "Angela Fraleigh 2021"

"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...

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

Large unsigned deer cast bronze stands prominently on a black veined marble base, seemingly surveying the landscape. With a twelve point rack between two large antlers, this deer bro...

Liz Tran was born in Eugene, Oregon in 1979. In 2000, Tran moved to Seattle to attend Cornish College of the Arts and graduated in 2002 with a Bachelor of Fine Art in Print Art and P...

Signed and dated (at lower right): L; (on verso): D. Ligare / 2014

Queen Anne desk box with scalloped interior on bracket feet. Made of pine with old mahogany finish. Probably New York.

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

A rare and bright blanket chest in brilliant reds contrasted with blacks. The decoration is nicely painted with urns and flowers flanked by pillars and hearts on the corners. There i...

VALERIE HIRD BREAK IN THE HORIZON, 2019 oil, monotypes, gesso, Arches paper, silver leaf, silver amulet 23 1/2 x 22 in. 59.7 x 55.9 cm. mythology

Signed and dated (on verso): Angela Fraleigh 2021

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

VALERIE HIRD FLIGHT, 2020 watercolor, Arches paper 23 x 46 in. 58.4 x 116.8 cm. mythology

Oil on canvas, 11 x 10 in.

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

Signed and dated (on verso): Angela Fraleigh 2021

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

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

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...

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 ...

Signed by artist

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

Signed and dated (on verso): Angela Fraleigh 2021

These two authentic cast iron antique still banks depict a large reindeer and a smaller one standing nearby. Together, they make a wonderful Christ...

All original American spinning wheel, circa 1860, probably New England; with original flywheel and bobbin. The flywheel (drive wheel) consists of 14 original turned spindles; the treadle and bobbin "holds" are made of hand forged iron, as is the connector from treadle to drive wheel (see images). Turned legs and spindles connect the solid plank, which supports the flywheel; the yarn bobbin has the original metal teeth with leather support insert ends. Condition is very good; wood looks like maple; the bobbin fits "loosely" but works and functions properly. A small 1" tail of one of the two bobbin spindle...

From a limited edition of 5. Signed, titled dated, and editioned on frame label provided. Throughout her career, photographer Yoko Ikeda has been finding poetry in the prosaic, and ...

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

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

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

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

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

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...

Signed (at lower right): A. WEISKOPF

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

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

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

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

Signed and dated (on verso): Angela Fraleigh 2021

Signed and dated (on verso): Angela Fraleigh 2021