Adaa Art Dealers Association Of America

John Schieffer graduated in 1995 from the Paier College of Art in Hamden, Connecticut with a Bachelor of Fine Arts degree. The salutatorian entered the world of illustration at Merce...

Signed and dated (at lower right): Randall Exon 2012

Ink, watercolor, colored marker on paper

ceramic relief sculpture, glazed in colors. Bold colors. Edition 186/200 In original wooden box (22 x 24 x 4 3/4")

Colored marker on heavy paper

This pastel is unframed

Colored marker on heavy paper

Signed and dated (at lower right): MOORE 21

Listing includes free shipping for unframed prints and 14-day return policy. Ian Ruhter Tunnel View, Yosemite 30 x 40 inch archival pigment print Edition...

Michael Tracy In the Garden of the Hummingbirds, No XIX, 1992 22 1/2 x 30 in (57.2 x 76.2 cm), unframed 25 1/2 x 33 1/2 in (64.8 x 85.1 cm), framed JPHB 5649

Colored ink marker on paper

Colored ink marker on paper

Ink, colored marker on heavy paper

Colored ink marker on paper

Jack Davidson Untitled, 2008 Gouache on paper 22.5 x 15 in (57.2 x 38.1 cm) JPHB 5682

Ink, colored marker on paper

Colored ink marker on paper

Ink, colored marker on paper

This maple side chair is attributed to William Savery. It has a cupid’s bow crest, spooned back with solid splat, rush seat, aprons and cabriole front l...

ARTIST STATEMENT "Since I began painting more than 30 years ago, my work has evolved dramatically in terms of style and subject matter. Underlying all the changes has been a consi...

Listing includes framing with UV Plexi ($1,250 value), free shipping to the continental US and a 14-day return policy. Offering local pick up from our Los Angeles location. This is one of the last remaining editions from one of the most popular images from Karen Knorr's acclaimed "India Song" series. The Return of the Hunter, Chandra Mahal, Jaipur, 2010 31.5 x 39.5 inches, 34 x 42 x 2 inches framed Archival pigment print Edition 1 of 5 Karen Knorr 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...

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 her time exploring the woods with her dog and collecting critters. While exploring, she also studied the design and color of nature. She recalls many times standing in a field just staring in fascination at the values of the deciduous trees against a dark Oklahoma sky before a storm then rushing home to draw what she had seen. Technically self-taught, she thinks of nature as her real teacher. In 1994 she was awarded a grant from the Alaska State Council for the Arts to study with Oregon landscape...

"In the world of still life and landscape, conceptual events meet one another – the structural meets the narrative, the small stands in the space of the large, and color has a chance...

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...

Walking down a forgotten country lane, littered with stones and broken limbs, carpeted with the new growth of spring, I am exhilarated by warm days and the end of a long winter. I’m ...

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...

"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 ...

"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. Gibso...

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 Nippon (which means, “The Land of the Rising Sun”), Moore spent time in locales such as 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 depiction of an interior of a dwelling. The location of the view is unknown, but the presence of a rustic rail fence demarcating a yard bordering a distant house flanked by tall trees, shrubs and some blossoming fruit trees, suggests that the work likely portrays a building in a city suburb or a small village. In his book, Japanese Homes and Their Surroundings, Edward S. Morse (an American zoologist, orientalist, and “japanophile” who taught at Tokyo Imperial University from 1877 to 1879, and visited Japan again in 1891 and 1882) noted the “openness and accessibility of the Japanese house...

Robert Bechtle was born in 1932 in San Francisco and raised in Alameda. He studied graphic design and painting at the California College of Arts and Crafts in Oakland, earning his BF...

"My head is somewhere near the intersections of the fields of art, history, psychology, engineering, and religion," Dan Wingren was quoted as saying, when he was named the Meadows Di...

Colored marker on heavy paper

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...

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

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...

"Since childhood, I have been making clay figures to express what interested me. When I make a figure I try to feel what my subjects feel from the inside out. I choose the motif of p...

"In the world of still life and landscape, conceptual events meet one another – the structural meets the narrative, the small stands in the space of the large, and color has a chance...

Lucian Freud After Chardin 2000 Etching on White Somerset Textured Paper 30 3/4 x 37 3/4 inches; 78 x 96 cm Edition of 46 Initialed and numbered in graphite (lower recto) Frame available upon request Published by Matthew Marks Gallery...

Allison Gildersleeve addresses the theme of memory, exploring the phenomenon of past and present becoming collapsed or entwined by the emotional experience. Gildersleeve states: “In ...

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 her time exploring the woods with her dog and collecting critters. While exploring, she also studied the design and color of nature. She recalls many times standing in a field just staring in fascination at the values of the deciduous trees against a dark Oklahoma sky before a storm then rushing home to draw what she had seen. Technically self-taught, she thinks of nature as her real teacher. In 1994 she was awarded a grant from the Alaska State Council for the Arts to study with Oregon landscape painter Michael Gibbons. In the late 1990’s she studied with Michael Workman, a leading Landscape painter from Utah. She has taken their valuable lessons and strengthened her own individual style. Romona also admires the work of Russell Chatham, Emil Carlson...

Framing Included in Listing Price, Free Shipping for the US, 14-Day Return Policy. Two 4.5 x 3.25 inch unique vintage Kodak prints of Jerry Hall by Antonio...

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...

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 on back

Gail Norfleet earned her BFA at The University of Texas at Austin, and her MFA at Southern Methodist University in Dallas. Among others, she has had solo exhibitions in Dallas at The...

Gail Norfleet earned her BFA at The University of Texas at Austin, and her MFA at Southern Methodist University in Dallas. Among others, she has had solo exhibitions in Dallas at The...

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...

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 ...

Brian Cobble’s landscapes tend to particularly focus on the interplay of man and his surroundings, whether natural or built. A signature attention to the liminal aspects of a scene, ...

signed "Emile Noirot 1893" at lower right overall dimensions, including frame, are 19 3/4 x 23 5/8 inches

Peter Fischli / David Weiss Equilibres 1984–85/2006 Limited-edition book with photograph in linen-bound portfolio Photograph: 12 1/4 x 9 1/8 inches; 31 x 23 cm Book: 9 1/4 x 7 3/4 x 7/8 inches; 24 x 20 x 2 cm Portfolio: 15 x 11 1/2 x 1 1/2 inches; 38 x 29 x 4 cm Edition of 60 Photograph signed and numbered in ink (lower verso) Book signed and numbered in graphite on title page For Equilibres, the well-known series of photographs from the mid-1980s, Peter Fischli and David Weiss balanced everyday household items on top of each other in an absurd equilibrium. The Equilibres photographs anticipate Fischli and Weiss...

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...

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

From the acclaimed series "LA Day (2004)", this photograph by Michael Light is available as a 40 x 50 inch editioned print of the Golden State Freeway Looking Southeast Over Fernando Pass. Listing includes framing ($1,000 value with non-glare museum glass), free shipping to the continental US, and a 14 day return policy. Michael Light Golden State Freeway Looking Southeast Over Fernando Pass, 2004 Image Size: 40 x 50 inches Frame Size: 42 x 52 x 2 inches Edition 3 of 10 Signed and editioned on verso Artist Biography - Michael Light was born in 1963. The pre-eminent aerial photographer of his generation, he is the recipient of a Guggenheim Fellowship for photography and his work is in the collections of major museums from SF MoMA to the Victoria and Albert. Prior to taking up aerial photography, Light conceived of and put together the book Full Moon - the first look at NASA photography as fine art - and a project which was published in multiple editions selling several hundred thousand copies around the world. In a way Full Moon had a bearing on Light's subsequent aerial work, as he continues to see and explore the terrestrial world much as the astronauts saw the moon. For the last 15 years Light has been flying his own small aircraft primarily over the American West investigating how both man and nature make their mark on the landscape. To date Light has completed 18 separate Western projects - each of which comprises an oversize handmade artist's book as well as more traditional prints. Largely documenting the impact of man and industry on the land (but not immune to the sublime) Light's subjects range from Utah's gold and copper mines and the (over)development of places like Sun City, AZ and Lake Las Vegas, NV to contrasting Arizona's Meteor Crater - the largest meteoric impact site in the Americas - with James Turrell's Roden Crater...

Listing includes free shipping for unframed prints in the continental US and a 14-day return policy. Please inquire for framing options. We offer framing from our New York and Los Angeles gallery...

Matt Magee Arkoi, 2022 Monotype on BFK Rives 26 1/4 x 19 3/4 in (66.7 x 50.2 cm) JPHB 5644

portrait painted in acrylic on canvas.

Manufacturer Status: Discontinued Actual: 2007 - 2009 Rosenthal

Watercolor and gouache on paper

Signed "Earl W Stroh" at lower right. This is an Artist Proof. The price includes a period wormy chestnut frame with gold leaf. The outer frame...