Adaa Art Dealers Association Of America

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. ...

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 paintings, prints and drawings, whose style defies convenient labels. Abstract, surreal, cartoonish, sci-fi fantastic, metaphysical, apocalyptic-Baroque - all of these fit but also fall short of fully describing his art." (Edward M. Gomez, "Futuristic Forms Frolic Under Eerie Texan Skies...

Signed in pencil on verso

Butler’s Desk and Etagére, circa 1825 New York, possibly by Duncan Phyfe Mahogany (secondary woods: mahogany, pine, poplar), with ormolu mounts, marble,...

Signed (at lower right): John Ross Key 1882

Human and Animal Locomotion. Plate 319. Heaving 75-lb. rock. 14 x 20 inch original vintage collotype print from 1887 (image size 5.25 x 15.125 inches) Inventor, photographer, entre...

Signed and dated (on verso): Angela Fraleigh 2021

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...

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 attracted the attention of collectors from coast to coast. His three year exhibit, “Journey I Search of Lost Images” hung in 22 museums and institutes across the United States. In an exhibit curated by the Brooklyn Museum of Art, his work toured the New Orleans Contemporary Art Center, San Jose Museum of Art, the Palm Springs Desert Museum and many more prestigious art institutions. Although he must strictly limit the number of commissions he accepts, his mural size paintings are highly prized by corporate collectors. Gary Ernest Smith was born and raised in a relatively isolated farm community 25 miles northeast of Baker City, Oregon. His interests and intensity for painting began at an early age and progressed through college degrees, numerous commissions and awards to a full time pursuit of painting. The commission work that dominated the early years eventually stifled his creativity. Dissatisfaction with this career direction forced him to reach inward and search beyond popular style and accepted artistic norms to a personal vision. Following years of artistic training and experimentation, subject matter began to emerge based on the artist’s background of a rural life-style that celebrates the values of hard work and self-reliance. These aspects of Smith’s life came together and became the catalyst for his distinctive style. Living in the west, his work is primarily of that region, but it is not western in the traditional sense. Although it defies precise classification, the artist considers his style “minimal” and seeks to express the essence and simplicity of each subject. Whatever the focus might be, his work expresses the artistic elements of bold form and color. These two components become the vehicle that melds the style and subject into a symbolic visual language, expanding the artistic appeal beyond the west...

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...

Francesca Fuchs Duck and Dolphin, 2018 acrylic on canvas over board 30 x 41 1/2 in (76.2 x 105.4 cm) This work is part of a series currently on view...

This doorstop, also known as "Overhead Swinging Golfer," is more difficult to find than it's "Putting Golfer" counterpart doorstop; which is also made by Hubley. Manufactured by the Hubley Manufacturing Company of Lancaster, Pennsylvania in 1920, this cast iron doorstop is in outstanding all original bright paint with no touch up or restoration of any kind, and in wonderful patina. It depicts an older, grey haired man, with typical knicker golf garb, taking a wild swing at a golf ball resting on the grass. It has a semi "hollow" rear with a "238" factory marking, indicating that it is, in fact, by Hubley and original. It is noted in Jeanne Bertoia's 1985 book on doorstops page 60; and referenced on page 211 of the Smith book on doorstops. A must for the doorstop or golfing memorabilia...

This is a newly released platinum print of "The Observer and Observed" by Susan Derges. Printed in 2022. Listing includes framing, a label of authentici...

Signed (at lower right): L; (on verso): David Ligare

Image size: 24 x 12 inches Edition of 30 Portrait of the artist's son Vincent. Internationally recognized painter and printmaker Alex Katz was born in 1927 in Brooklyn, New York. ...

Francesca Woodman in Providence, Rhode Island (1976) photographed by George Lange. 11 x 14" archival pigment print 17 x 21 x 2" frame with UV plexgias Edition 2 of 10, signed and e...

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 ...

Brice Marden Lana 2 1966 Screenprint on paper 20 x 24 inches; 51 x 61 cm Edition of 11 Signed, titled, and numbered in graphite (lower recto) This silkscreen was printed by Brice...

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...

Oil on canvas

The figure has always been Deborah Ballard’s muse in her sculptures. Ballard works in bronze, cast stone, and plaster; her figures ranging from life-size to hand-size. Ballard says, ...

"Holly Brand Chocolate" is the theme of this tray as noted at the base border. They were turn of the century chocolate makers. This is a very RARE serving tray sought after by advert...

Listing includes free shipping for an unframed print in the US and a 14-day return policy. All prints are made to order and will arrive in mint condition directly from Tod Papageorge...

15 x 15 archival pigment print, edition 8. Signed, titled, dated and editioned on frame label provided. In this latest body of work, Simone Rosenbauer continues her series "Like Ice...

Oil on canvas

Pine painted floral decorated hanging cupboard. Iron strap hinges and lock.

Jim Richard Afternoon, 2017 Flashe on canvas 41 1/2 x 56 in (105.4 x 142.2 cm) This work is on view as part of the exhibition "I Know a Place", through July 7, 2018 For his fourth...

From the series Chasing Good Fortune

15 x 15 archival pigment print, edition 8. Signed, titled, dated and editioned on frame label provided. In this latest body of work, Simone Rosenbauer continues her series "Like Ic...

Archival pigment print. Framing available at additional cost. Signed, titled, dated and editioned on label verso. In the latest series by Simone Rosenbauer, entitled Like Ice in the Sunshine...

Oil on canvas

signed "EJB." at lower right 21 3/4 x 17 inches including frame

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

Signed (at lower left): WILLIAM S. SCHWARTZ

Charles Demuth was one of the most complex, talented, and deeply sensitive artists of the American modern period. Whether he was painting floral still lifes, industrial landscapes, or Turkish bathhouses, art was, for Demuth, fraught with personal meaning. A fixture of the vanguard art scene in New York, Demuth navigated the currents of Modernism, producing some of the most exquisite watercolors and original oil paintings in twentieth-century American art. Demuth was born in Lancaster, Pennsylvania, the only child of a well-to-do family. He had an awkward and introverted childhood shaped by a childhood illness, Perthes, a disease of the hip that not only left him permanently lame, but, as part of the “cure,” bedridden for two years in the care of his mother. This long period of incapacitation had a deep impact on Demuth, who came to see himself as an invalid, an outsider who was different from everyone else. It was perhaps during this period of indoor confinement that his keen interest in art developed. Several relatives on his father’s side had been amateur artists, and, following his convalescence, his mother encouraged his artistic pursuits by sending him to a local painter for instruction. The majority of his early pictures are of flowers, a subject for which Demuth maintained a lifelong passion. Following high school, Demuth enrolled at the Drexel Institute of Art in Philadelphia, a school renowned for its commercial arts program. He advanced through the program rapidly, and, in 1905, at the encouragement of his instructors, he began taking courses at the Pennsylvania Academy of the Fine Arts. The two leading teachers then at the Academy were William Merritt Chase and Thomas Anshutz. Anshutz, himself a former student of Thomas Eakins, was well liked by his students, and is best known as the teacher of Robert Henri, John Sloan, and several of the other artists of the Ashcan School. Demuth, too, adopted a similar idiom, working in a controlled, realistic manner while at the Academy, where he remained until 1910. In 1907, Demuth made his first trip to Europe, staying in Paris. He spent time on the periphery of the art scene composed of the numerous American artists there, including John Marin and Edward Steichen. He returned to Philadelphia five months later, and immediately resumed courses at the Academy. Despite his introduction to advanced modern styles in Europe, Demuth’s work of this period retains the academic style he practiced before the trip. It wasn’t until he had summered at New Hope, Pennsylvania, in 1908 and 1911, that his style began to evolve. New Hope was a prominent American Impressionist art colony whose members were largely affiliated with the Pennsylvania Academy. Demuth dropped the conservative tone of his style and adopted a freer and more colorful palette. Although he remained based in Philadelphia, Demuth frequently went to New York during this period. Many of the same American artists of the Parisian art scene Demuth had encountered on his earlier European trip now formed the nucleus of New York’s avant-garde, which centered around Alfred Stieglitz’s 291 gallery. It wasn’t long before Demuth began to apply modernist-inspired strategies to his work. He was particularly influenced by the watercolor work of John Marin, also a former student of Anshutz, whose bold use of color in the medium Demuth freely adapted into looser washes of color. In 1912, Demuth again left for Paris, this time studying in the Académie Moderne, Académie Colorossi, and Académie Julian. In Paris Demuth met the American modernist Marsden Hartley. Hartley, a principal figure in the expatriate art circle, acted as a mentor to Demuth, and introduced him to the wide array of modern styles currently practiced in Europe. Hartley also introduced Demuth to many of the members of the Parisian avant-garde, including Gertrude Stein. Demuth was an aspiring writer, and he spent many hours in conversation with Stein. He wrote extensively during this period, and published two works shortly after his return to America. He also developed an interest in illustrating scenes from literary texts. From 1914 to 1919, Demuth produced a series of watercolors of scenes from books such as Emile Zola’s Nana and Henry James’s The Turn of the Screw. Upon his return to America, Demuth settled in New York. In 1914, Demuth had his first one-man show at Charles Daniel’s gallery, which promoted emerging modern American artists, including Man Ray, Rockwell Kent, Yasuo Kuniyoshi, Stuart Davis, and Max Weber. Demuth drew closer to the artistic vanguard in New York, becoming friends with many in the Stieglitz and Daniel circles, including Georgia O’Keeffe, Marcel Duchamp, Carl Van Vechten, and Edward Fiske. New York’s cosmopolitan atmosphere and active nightlife appealed greatly to Demuth. In a sketchy style well suited to watercolor, he painted many vaudeville and circus themes, as well as nightclub, café, and bathhouse scenes. Often with Duchamp, Demuth took part in an urban subculture replete with nightclubs, bars, drugs, and sexual permissiveness, which, for a homosexual artist like himself, allowed room for previously unattainable personal expression. Demuth’s pictures of sailors, bathhouses, and circus performers embody a sensual and sexual undercurrent, expressing the artist’s sense of comfort and belonging in the bohemian subculture of New York. Simultaneously, Demuth deepened his interest in floral pictures, painting these almost exclusively in watercolor. His style evolved from the broad color washes of his earlier pictures to more spare, flattened, and sinuous compositions, inspired by the drawings of Aubrey Beardsley and other artists of the Aesthetic Movement. Demuth’s flower watercolors are moody and atmospheric, sensuous and elegant, introspective and yet full of expressive power. Moreover they are beautiful, and are unequivocally among the finest still lifes in American art. Despite numerous subsequent artistic undertakings that led him in a variety of directions, Demuth never stopped painting flower pictures, ultimately adding fruits and other still-life objects to his repertoire. In 1916, Demuth began to develop a style later known as Precisionism, a form of landscape painting infused with Cubism, in which space is divided into precisely drawn geometric regions of color. Demuth first began to paint the landscape in an appropriated Cubist mode while on a trip with Hartley to Bermuda. In these early landscapes, in which the curvilinear forms of trees intersect the geometrically articulated architectural forms, Demuth explored ideas that shaped the future development of modernism in America. The full realization of Demuth’s explorations came after his return to America in 1917, when he turned his attention to industrial subjects. These works derive from a “machine aesthetic,” espoused by New York artists such as Francis Picabia, Joseph Stella, Albert Gleizes, and Duchamp, by which artists viewed machines as embodying mystical, almost religious significance as symbols of the modern world. Rather than painting the skyscrapers and bridges of New York as did most of his like-minded contemporaries, Demuth returned to his home town of Lancaster, where he painted factories and warehouses in a Precisionist idiom. The titles for these pictures are often contain literary references, which serve as clues for the viewer to aid in the decoding of the artist’s meaning. In 1923, Demuth planned a series of abstract “poster portraits” of his friends and contemporaries in the New York art and literary scene. In these “portraits,” Demuth combined text and symbolic elements to evoke the essential nature of his sitters’ distinguishing characteristics. In this fashion, he painted portraits of such artists as Georgia O’Keeffe, John Marin, and Arthur Dove. His most famous poster portrait, I Saw the Figure 5 in Gold...

14 x 11 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, and this image appeared on the cover. 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...

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...

Jim Richard That Yard, 2017 Flashe on canvas 42 x 56 in (106.7 x 142.2 cm) This work is on view as part of the exhibition "I Know a Place", through July 7, 2018 For his fourth sol...

Human and Animal Locomotion. Plate 646. Jumping a hurdle; saddle; rider, 105, nude; gray mare Pandora 14 x 20 inch original vintage collotype print from 1887 Image size 6 1/2 x 17 in...

Listing includes framing with non-glare UV plexiglas and a 14 day return policy. Also available for local pick up at our Los Angeles gallery. Shipping services available worldwide at a discounted rate. Friends in Need, Juna Mahal, Dungarpur Palace, 2020 48 x 60 inches (52 x 64 x 2.5 inches framed) Archival pigment print Edition 4 of 5 (last edition available) Signed on separate artist certificate Artist Biography - While Knorr’s images take some of their inspiration from the Indian tradition of personifying animals in literature and art, there is another almost subconscious strain to her work. Going back to the time of cave painting we see that these early visual artists not only recorded their lives and surroundings, but used art to express themselves. The depiction of animals in symbolic and powerful ways and the urge to create these images with the best tools at hand is a line stretching from these unnamed cave painters to Karen Knorr. Playfully combining technologies and genres, Knorr mixes digital...

Singed (at lower left): Jane Peterson

The figure has always been Deborah Ballard’s muse in her sculptures. Ballard works in bronze, cast stone, and plaster; her figures ranging from life-size to hand-size. Ballard says, ...

Entitled "Charlie Chaplain", hand painted porcelain made in 1984 by Lladro, in Spain and retired in 1990 This is labeled 5233 and 025F; signed on the bottom by the sculptor, Juan Hue...

This image, taken in Cuba during the artist's visit in 1997, was part of a collaboration with author Andrei Codrescu, and resulted in the publication of a 1999 book entitled "Ay Cuba...

Oil on canvas

Miles Cleveland Goodwin says, "I don’t like to do things I don’t know." Not unlike the spirit of Southern literature and Delta blues music, there is an autobiographical nature to his...

From the series Blow Up

15 x 15 archival pigment print, framed, edition 8. Signed, titled, dated and editioned on frame label provided. In this latest body of work, Simone Rosenbauer continues her series "...

Signed (on stretcher): Stanley Twardowicz Stanley Twardowicz (1917–2008), a one-time orphan, Golden Gloves boxer, professional baseball player and auto worker, emerged from a hards...

Signed (lower right): Quincy

Signed "C. VENARD" at lower right Overall dimensions, including the frame, are 33 3/4 x 18 1/4 inches

Beth Secor Sparrow, 2016 gouache, pencil and ink on paper 24-3/4 x 24-3/4 inches

This 19th century American solid brass ship steering wheel was, more than likely, from a yacht. Fishing and commercial boats were more inclin...

Listing includes free shipping, and a 14-day return policy. 24 x 30 inch archival pigment print Edition 4 of 5 Signed on artist certificate Also available in 3 other sizes. Arti...

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...

Signed in pencil on verso

Fine quality mid 19th century period oil on canvas painting; American School depicting a schooner in full sail at sea; resembling the popular yacht, and first America's Cup winner "T...

Listing includes framing with optium non-glare Plexi, free shipping, and a 14 day return policy. Also available for local pick up in New York City. Heaven's Vault, Villa Farnese, Caprarola (2014) by Karen Knorr 24 x 30 inches (27 x 33 inches framed) Archival pigment print Edition 1 of 5 Signed on artist certificate and acquired directly from the artist. Artist Biography - While Knorr’s images take some of their inspiration from the Indian tradition of personifying animals in literature and art, there is another almost subconscious strain to her work. Going back to the time of cave painting we see that these early visual artists not only recorded their lives and surroundings, but used art to express themselves. The depiction of animals in symbolic and powerful ways and the urge to create these images with the best tools at hand is a line stretching from these unnamed cave painters to Karen Knorr. Playfully combining technologies and genres, Knorr mixes digital...

"My artwork is always in progress. There is not a goal. There is not a category for my work. It is all about enjoying the process of every moment. On a blank sheet of washi calli...

David A. Dreyer was born in Dallas in 1958, and earned his BFA and MFA at Southern Methodist University. He was a recipient of the Moss/Chumley Award from the Meadows Museum and has ...