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Adaa Art Dealers Association Of America

Art Dealers Association of America (ADAA)
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.
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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 Adaa Art Dealers Association Of America

Materials

Archival Pigment

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

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 Adaa Art Dealers Association Of America

Materials

Archival Pigment

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

Our story was a ghostly one
By Angela Fraleigh
Located in New York, NY
Signed on verso
Category

2010s Contemporary Adaa 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 Adaa Art Dealers Association Of America

Materials

Stone, Marble

Old Country Bazaar
By William S. Schwartz
Located in New York, NY
Oil on canvas, 36 x 42 in. Signed, dated, and inscribed (at lower right): WILLIAM S. SCHWARTZ 1926; (on the back): “OLD COUNTRY BAZAAR” / BY / WILLIAM S. SCHWARTZ / 1926 RECORDED: C. H. Bonte, “122nd Annual opens at Pennsylvania Academy,” in The Philadelphia Inquirer, Jan. 30, 1927 EXHIBITED: The Art Institute of Chicago, 1926, The Thirty-Ninth Annual Exhibition of American Paintings and Sculpture, no. 174 // The Pennsylvania Academy of the Fine Arts, Philadelphia, 1927, The One-Hundred-and-Twenty Second Annual Exhibition, p. 37 no. 181 // The Chicago Culture Club...
Category

20th Century American Modern Adaa Art Dealers Association Of America

Materials

Canvas, Oil

A Train (from the series A Story of the New York Subway)
By Kazuo Sumida
Located in New York, NY
11 x 14 inch gelatin silver print. Edition 15. Signed on verso. Kazuo Sumida first visited New York in 1995. He found the city to be one of “both bustle and silence,” particularly the underground world of the subway, where he encountered “a place full of characters.” By 2002, he had produced a large body of work of images taken in this subterranean metropolis – tender scenes of lovers and children; gritty portraits of beggars for whom the subway is home; artists, musicians, commuters, and others who pass through the tunnels on their daily journeys. The resulting monograph, A Story of the New York Subway, was published in 2002. Sumida was born in 1952 in Kochi Prefecture in southern Japan. Although photography was not his formal career, Sumida has pursued the art throughout his life. He graduated from Osaka Photography Graduate School in 1983, and also studied at the International Center of Photography in New York, on a fellowship from the Japanese Agency for Cultural Affairs. He lives in Japan, and continues to visit New York frequently. His work has been shown at the Tokyo Ginza Kodak Photo...
Category

21st Century and Contemporary Contemporary Adaa Art Dealers Association Of America

Materials

Silver Gelatin

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 Adaa Art Dealers Association Of America

Materials

Archival Pigment

New York Harbor and Governor's Island
By Diana Horowitz
Located in New York, NY
Signed and dated (on verso): Diana Horowitz / 2014
Category

2010s Contemporary Adaa Art Dealers Association Of America

Materials

Oil

Untitled (Sunset with Hands)
By Louisa Chase
Located in New York, NY
Signed (at lower right): Louisa Chase
Category

Late 20th Century American Modern Adaa Art Dealers Association Of America

Materials

Ink, Watercolor

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 Adaa Art Dealers Association Of America

Materials

Color Pencil

Cuban Macaw
By Elizabeth Turk
Located in New York, NY
Anodized aluminum (black)
Category

2010s Contemporary Adaa Art Dealers Association Of America

Materials

Metal

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 Adaa Art Dealers Association Of America

Materials

Archival Pigment

Sabrett Hot Dog Vendors, New York City
By Neal Slavin
Located in New York, NY
42 x 42 inch digital chromogenic print Framed to 43 x 43 inches, with museum-quality non-reflective Optium plexi. #7 from the edition of 8 Signed, titled, dated and editioned on labe...
Category

1970s Contemporary Adaa Art Dealers Association Of America

Materials

Digital

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 Adaa Art Dealers Association Of America

Materials

Silver Gelatin

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 Adaa 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 Adaa Art Dealers Association Of America

Materials

Archival Pigment

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 Adaa Art Dealers Association Of America

Materials

C Print

Hatton Garden Snooker Club, London, UK
By Neal Slavin
Located in New York, NY
24 x 19.25 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 gro...
Category

1980s Contemporary Adaa Art Dealers Association Of America

Materials

Digital

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 Adaa Art Dealers Association Of America

Materials

Canvas, Oil

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 Adaa Art Dealers Association Of America

Materials

Digital

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 Adaa Art Dealers Association Of America

Materials

Silver Gelatin

Untitled
By Gilad Efrat
Located in Houston, TX
Gilad Efrat Untitled, 2016 oil on canvas, 175 x 250 x 5 cm (68.9 x 98.4 x 2 in) This painting is part of new series of work by Israeli artist Gilad Efrat. The paintings comprise th...
Category

21st Century and Contemporary Abstract Adaa Art Dealers Association Of America

Materials

Canvas, Oil

Man Land
By Clare Kirkconnell
Located in San Francisco, CA
Born in Brownsville, Texas, in 1955, Clare Kirkconnell spent a number of years in Mexico City before returning to Houston to finish high school. She developed an interest in the arts early on and continued her education at Palomar College in San Marcos, California. After college, Kirkconnell spent several years as a fashion model traveling the world from bases in New York and Paris. She concurrently studied acting, landing several film and television roles, including a three-year run as the female lead in the highly acclaimed drama The Paper Chase. Never abandoning her early interest in painting, Kirkconnell then continued her studies in at Santa Monica College and Otis Parsons School of Design. Her work has been consistently well-received and can be found in many important private collections. When not in the studio, Kirkconnell divides her time between her husband and son, the family wine business, “Hollywood and Vine...
Category

2010s Adaa Art Dealers Association Of America

Materials

Thread, Oil, Pencil

Tsuyama City, Okayama Prefecture (C-2391)
By Toshio Shibata
Located in New York, NY
4 x 5 inch contact print (image size), on 8 x 10 inch sheet, edition 10 Toshio Shibata is one of Japan's leading landscape photographers. But he has chosen a most unconventional sub...
Category

2010s Contemporary Adaa Art Dealers Association Of America

Materials

C Print

Untitled
By Gilad Efrat
Located in Houston, TX
Gilad Efrat Untitled, 2016 oil on canvas, 150 x 150 x 5 cm (59.1 x 59.1 x 2 in) This painting is part of new series of work by Israeli artist Gilad Efrat. The paintings comprise th...
Category

21st Century and Contemporary Abstract Adaa Art Dealers Association Of America

Materials

Canvas, Oil

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 Adaa Art Dealers Association Of America

Materials

Woodcut

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 Adaa Art Dealers Association Of America

Materials

Digital

Rose
By Amy Blakemore
Located in Houston, TX
Rose, 2013 Chromogenic print, ed. 10, 12 x 12 inches image size, 16 x 20 inches paper size, 20 5/8 x 20 5/8 inches framed size. Amy Blakemore’s new photographs depict a variety o...
Category

21st Century and Contemporary American Realist Adaa Art Dealers Association Of America

Materials

C Print

Jack Riley, Bradford, West Yorkshire, U.K.
By Denis Darzacq
Located in New York, NY
From the series ACT, in which the artist worked with young adults leading difficult lives, their bodies challenged by conditions such as Down’s Syndrome or cerebral palsy. His subjec...
Category

2010s Contemporary Adaa Art Dealers Association Of America

Materials

Inkjet

Horizon Vl
By Edgar Leciejewski
Located in Houston, TX
Edgar Leciejewski Horizon VI, 2015 Edition 2 of 3 4 color prints on Alu-dibond with artist-designed framing with Museum Glass, ed 3 + 1 AP 30-1/4 x 44-1/2 inches overall installed dimension each individual framed photograph is 37.2 cm x 55.4 cm x 3 cm (12.87'' x 21.81'' x 1.18'' inch) In 2014 Edgar Leciejewski was an artist-in-residence at the Fogo Island...
Category

21st Century and Contemporary Contemporary Adaa Art Dealers Association Of America

Materials

Color

Elm Along The Bayou
By Beth Secor
Located in Houston, TX
Beth Secor, Elm Along The Bayou, 2014-2015 Ink, gouache and pencil on paper overall diptych 20 x 28 inches 20 x 14 inches each Beth Secor understands tr...
Category

21st Century and Contemporary Contemporary Adaa Art Dealers Association Of America

Materials

Archival Paper, Gouache, Ink

Pair of Oil on Board Cityscapes by Anna Speakman
By Anna W. Speakman
Located in West Chester, PA
Wonderfully painted on Rittenhouse Square, these complimentary paintings illustrate a stark contrast between trees and City Hall in Philadelphia, PA...
Category

Early 20th Century American Adaa Art Dealers Association Of America

Materials

Board

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 Adaa Art Dealers Association Of America

Materials

C Print

Oil on Canvas of the Montmorenci Staircase at Winterthur
By Grace Gemberling Keast
Located in West Chester, PA
A famous architectural element at the Winterthur Museum in Delaware, this painting was probably done in the 1940s.
Category

20th Century Adaa Art Dealers Association Of America

Materials

Canvas

"The Collector" by Richard Chalfant
Located in West Chester, PA
Is collecting a simple pleasure or an all consuming obsession? The collector is facinated and entranced with beauty. The secret is knowing when to let the fire fly go.
Category

21st Century and Contemporary Adaa Art Dealers Association Of America

"Green Tractor" by Richard Chalfant
Located in West Chester, PA
Painted at sunset in haying season, the days work is done. John Deere is parked for the night and the haystacks await tomorrows hauling.
Category

21st Century and Contemporary Adaa Art Dealers Association Of America

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 Adaa Art Dealers Association Of America

Materials

Oil, Wood Panel

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

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 Adaa Art Dealers Association Of America

Materials

C Print

In the middle of the road
By Dana Frankfort
Located in Houston, TX
Dana Frankfort In the middle of the road, 2017 oil on canvas over panel 48 x 48 x 1.75 inches For over two decades, Dana Frankfort has explored the vexing periphery between language and sight by painting words. Rather than laying claim to the paintings, controlling their semiotic pulse, her words serve as the formal armature; they prop up, ventilate, and allow the many layers of paint to breathe. Imperatives, allusions, evocations—the words dissolve into a palimpsest of obscured serifs and stems, into color and form. The title of the work is a phrase from a poem by Carlos Drummond de Andrade’s “In the Middle of Road.” Here it is, translated from the Portuguese by Elizabeth Bishop...
Category

21st Century and Contemporary Contemporary Adaa Art Dealers Association Of America

Materials

Canvas, Oil, Wood Panel

Pair of Oval Double Curule Benches, New York, Possibly Duncan Phyfe and Son
By Duncan Phyfe
Located in New York, NY
Pair of oval double Curule benches, circa 1835 New York, possibly Duncan Phyfe and Son Rosewood (secondary woods: ash and poplar), with gilt-brass castors Each, 16 3/8 in. high, 2...
Category

1830s American Neoclassical Antique Adaa Art Dealers Association Of America

Materials

Mahogany

Cherry Chippendale Shaving Stand
Located in West Chester, PA
Rhode Island cherry Chippendale shaving stand with the original mirror, refinished surface, and replaced brasses. The shaving Stand has a wonderful...
Category

18th Century American Chippendale Antique Adaa Art Dealers Association Of America

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 Adaa Art Dealers Association Of America

Materials

Woodcut

Two Cranes, with Platform
By Diana Horowitz
Located in New York, NY
Signed and dated (on verso): Diana Horowitz 2011
Category

2010s Contemporary Adaa Art Dealers Association Of America

Materials

Oil

"Safety Zone" Painting by Richard Chalfant
Located in West Chester, PA
Plein air painting offers the opportunity to appreciate everything in nature. Different times of the day changes the light and the experience. Painted along Brandywine, this painting...
Category

21st Century and Contemporary Adaa Art Dealers Association Of America

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 Adaa Art Dealers Association Of America

Materials

Watercolor

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 Adaa 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 Adaa Art Dealers Association Of America

Materials

Acrylic

Switch-It #7
By Robert Ruello
Located in Houston, TX
Robert Ruello Switch-It #7, 2016 graphite, watercolor, and colored pencil on paper 20 x 15 inches Energetic and charged with visual power, the Switch-It series is movement and transition visualized. Ruello’s formal investigation of how we move through and disrupt various environments (digital, analog, and in-between) is rendered through these graphic elements. As he notes, “As a result of this disruption, the array is no longer stable or predictable — visual illusions and shifting figure/ground relationships begin to emerge.” Ruello’s work stems from an enjoyment in the tension between the stable and the unpredictable. Though not figural, his work presents elements that are recognizable from our visual vernacular. Digital screens, popular science...
Category

2010s Abstract Adaa Art Dealers Association Of America

Materials

Watercolor, Archival Paper, Color Pencil, Graphite

Switch-It #9
By Robert Ruello
Located in Houston, TX
Robert Ruello Switch-It #9, 2016 graphite, watercolor, and colored pencil on paper 20 x 15 inches Energetic and charged with visual power, the Switch-It series is movement and transition visualized. Ruello’s formal investigation of how we move through and disrupt various environments (digital, analog, and in-between) is rendered through these graphic elements. As he notes, “As a result of this disruption, the array is no longer stable or predictable — visual illusions and shifting figure/ground relationships begin to emerge.” Ruello’s work stems from an enjoyment in the tension between the stable and the unpredictable. Though not figural, his work presents elements that are recognizable from our visual vernacular. Digital screens, popular science...
Category

2010s Abstract Adaa Art Dealers Association Of America

Materials

Watercolor, Archival Paper, Color Pencil, Graphite

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 Adaa Art Dealers Association Of America

Materials

C Print

Blue Coat
By Alex Katz
Located in New York, NY
Image size: 24 x 12 inches Edition of 30
Category

1990s Adaa Art Dealers Association Of America

Materials

Aquatint

"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

Mechanical Bank, "Watchdog Safe" in Cast Iron, circa 1890
Located in Incline Village, NV
"Watchdog Safe" mechanical bank was manufactured by the prolific toy coin bank manufacturer J. & E. Stevens Company in Cromwell, Connecticut in 1890. "Patent Applied For" appears in ...
Category

19th Century American Folk Art Antique Adaa Art Dealers Association Of America

Materials

Iron

Split Ring Image C
By Robert Mangold
Located in New York, NY
2009, color woodblock print on Hahnemuhle paper, 31 1/4 x 30 1/2 inches, edition of 30
Category

21st Century and Contemporary Adaa Art Dealers Association Of America

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 Adaa Art Dealers Association Of America

Materials

Etching, Lithograph

Victorian Porcelain Spittoon, circa 1880 by Imari, Japan
Located in Incline Village, NV
The mark on the underneath (see image) indicates that this spittoon is of Japanese Imari porcelain, manufactured circa 1880, and made specifically for the American market for the preponderance of bars and saloons at that time. These were popular from 1865 to the turn of the century; this is a particularly fancy and elaborate example. Note the copious and highly detailed and beautiful floral decoration to the inside of the upper portion of the spittoon; pretty fancy for something meant for spit and saliva! Fantastic and all original condition with no cracks, no chips and very bright paint in sharp colors of blue rust and pink, and meticulously painted in a floral pattern. Several of these would have been “stationed” in strategic places within a saloon. This is a wonderful piece of porcelain, and quality item of saloon and Western United States history...
Category

1880s Japanese Victorian Antique Adaa Art Dealers Association Of America

Materials

Porcelain

Large Late 19th Century "Marbelized" Painted Oak Fire Surround
Located in Incline Village, NV
American hardwood fire surround is nicely carved, with floral decor, raised relief and a pair of fluted ionic columns on each side beneath the mantel. The finish has been "marbelized...
Category

Late 19th Century American American Craftsman Antique Adaa Art Dealers Association Of America

Materials

Wood

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