Adaa Art Dealers Association Of America

Cupid's bow crest, solid splat, great concave arm supports and carved knuckles. Spooned back, deep scalloped skirts, cabriole legs terminating in trifid feet. Wonderful old patina. P...

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...

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...

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...

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...

Edition: 5 or less. One of possibly 3 variants

Bird cage, suppressed ball pedestal, cabriole legs with carved shells terminating in ball and claw feet. Philadelphia, circa 1770.

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. ` 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...

Donald Vogel’s paintings reflect his interest in seeking beauty in life and in sharing pleasure with his viewers. Vogel entreats us to "rejoice and celebrate each new day, knowing it...

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...

abstract still life painting in ink on canvas. blind contour drawing colorful

In our quick paced culture, we are hyper-stimulated with visual media, which has caused our sense of vision to become blind to many things of incredible loveliness and consequence, s...

Abstract ink painting on canvas.

In his long and productive career, Clarence Holbrook Carter followed an independent course. He incorporated an unlikely mixture of stylistic influences, drawing from such disparate s...

tin plate painted with man in large sombrero. Edition of 500

Darren Almond Fullmoon@Beacon 1999-2004 C-print mounted on aluminum in artist’s frame 48 x 48 inches; 122 x 122 cm Edition of 5 Signed in ink (verso) Available from Matthew Marks G...

Robert Minervini (b.1981 Secaucus, NJ) is an artist working in painting, drawing, printmaking, murals, and site-specific public art. His work examines spatial environments and notion...

This hollow back figural doorstop features an attractive young lady carrying flowers in one arm, and a long shawl in her other arm. The doorstop is in an abundance of excellent origi...

"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...

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...

Signed "Lifschitz 85" at lower right The overall dimensions, including the frame, are 26 1/2 x 32 3/8 inches.

Bird cage support, urn pedestal, and cabriole legs terminating in snake feet. Nice old patina.

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 life through landscape, still life, portraiture, and abstraction. Restlessly creative, he has explored these varied genres with equal concentration…..” Bob Stuth-Wade’s method of painting is uniquely his own, having taught himself technique; his only formal training was as a teenager with Dallas artist Perry Nichols...

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...

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...

Arched crest, good turnings, molded splats, rush seat. Turned legs terminating in ball feet. Wonderful old grained paint and patina. Pennsylvania, circa 1730-1740.

One drawer over two, original plate brasses. Cabriole legs terminating in a faceted foot. Nicely scalloped aprons. Philadelphia, Pa. circa 1760-1770.

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...

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...

Gary Hume Grey Leaves 2004 Screen print in 4 colours with one glaze, printed on 400gsm Somerset Tub Sheet: 28 x 23 inches; 71 x 59 cm Frame: 30 3/8 x 25 1/...

Crest rail with a shell and volutes, fluted stiles, pierced splat with volutes, shell on front rail, cabriole legs with shells terminating in claw and ball feet. Philadelphia, PA cir...

15 x 15 archival pigment print (image size 14 x14 inches) Edition #8/8 Signed, titled, dated and editioned on frame label provided. Framing available at an additional cost. In the latest series by Simone Rosenbauer, entitled Like Ice in the Sunshine...

Terrell James "Rinsing the Eye" 2019 Oil on linen 64 x 78 inches

"Sleepy Eye" stoneware pitchers were promotional items used to advertise The Sleepy Eye Flour Milling Company, in Sleepy Eye, Minnesota. The factory was bui...

Throughout her career, Geesaman photographed public parks and formal gardens in the United States and Europe, focusing on the intersection of nature and artifice in the cultivated la...

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...

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...

Beloeil, Belgium (4-04-2c-6), 2014 by Lynn Geesaman.

33.5 x 33.5 incg archival pigment print, framed to 34.75 x 34.75 inches, edition 8. Signed, titled, dated and editioned on frame label provided. In the latest series by Simone Rosen...

Ubiquitous 20th century theme for whirligigs, this example depicts a woman churning butter, with the action being driven by wind powered four blade propellers in the front. As the wi...

Signed and dated (at lower right): BROSEN 21 A native New Yorker, Brosen has spent a lifetime wandering its streets, discovering its long history and witnessing its constant metamor...

William and Mary bannister back armchair. Arched crest, wonderful turnings, molded splat nd rush seat. Turned legs terminating in ball feet. Pennsylvania, circa 1730.

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...

Darren Almond 69th Parallel 2 2005 Gelatin silver print mounted on aluminum in artist's frame 37 x 47 inches; 94 x 120 cm Edition of 5 Signed in ink (verso) Available from Matthe...

William Bailey’s still life paintings present seemingly everyday objects, including bowls, pitchers, and cups, in groupings that conjure the familiar world while offering a metaphysi...

Joseph Havel Dream, 2004 Double woven silk taffeta labels in an acrylic construction 13 1/2 x 12 1/2 x 1 3/4 inches

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...

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...

"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 ...

Joseph Havel Rest, 2004 Double woven silk taffeta labels in an acrylic construction 13 1/2 x 12 1/2 x 1 3/4 inches

Charles Temple Dix was born in Albany, New York, the youngest son of the distinguished statesman and soldier, General John Adams Dix. Having already visited Europe as a child, Dix re...

Toy Noah’s Arks for children to play with were very popular in the late 19th and early 20th century, and Germany was very prolific in their production. This particular ark is all ori...

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...

Gilded swags, scrolls and cartouche on mahogany. English, circa 1760.

Carved shell ears with highly carved splat. Shell on center rail with carved knee returns and acanthus carved legs with ball and claw feet. Descended in the James Henderson family of New York and the James Monroe...

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.

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

Valley House Gallery presented our first exhibition for Houston artist Otis Huband in the summer of 2014. After a hiatus of over 20 years from regular exhibitions, his work was re-in...

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...

John Schieffer graduated in 1995 from Paier College of Art in Hamden, Connecticut with a Bachelor of Fine Arts degree. The salutatorian entered the world of illustration at Mercer Mayer Productions as a children’s book illustrator. It was a job where he used his artistic abilities although it was not an outlet for a serious painting career. (He has a written and illustrated a book of his own that is awaiting a publisher). John then worked in the field of graphics at Leslie Roy...