Adaa Art Dealers Association Of America

suns.antidote, 2014 gouache on paper mounted on canvas, mounted on panel 24 x 20 inches If some artists’ studios are factories, efficient and methodical, and some are gardens, c...

From the series Dark Days & Transparent Things. Three prints each 100 x 80 cm, 39 3/8 x 31 1/2 inches. Overall 100 x 240 cm, 39 3/8 x 94 1/2 inches

Gilad Efrat Untitled, 2015 oil on canvas, 110 x 110 x 3.5 cm (43.3 x 43.3 x 1.4 in) This painting is part of new series of work by Israeli artist Gilad Efrat. The paintings present...

Human and Animal Locomotion. Plate 44. Man taking off hat. 14 x 20 inch original vintage collotype print from 1887 (image size 10.5 x 9.75 inches)

Harry Humphrey Moore led a cosmopolitan lifestyle, dividing his time between Europe, New York City, and California. This globe-trotting painter was also active in Morocco, and most importantly, he was among the first generation of American artists to live and work in Japan, where he depicted temples, tombs, gardens, merchants, children, and Geisha girls. Praised by fellow painters such as Thomas Eakins, John Singer Sargent, and Jean-Léon Gérôme, Moore’s fame was attributed to his exotic subject matter, as well as to the “brilliant coloring, delicate brush work [sic] and the always present depth of feeling” that characterized his work (Eugene A. Hajdel, Harry H. Moore, American 19th Century: Collection of Information on Harry Humphrey Moore, 19th Century Artist, Based on His Scrap Book and Other Data [Jersey City, New Jersey: privately published, 1950], p. 8). Born in New York City, Moore was the son of Captain George Humphrey, an affluent shipbuilder, and a descendant of the English painter, Ozias Humphrey (1742–1810). He became deaf at age three, and later went to special schools where he learned lip-reading and sign language. After developing an interest in art as a young boy, Moore studied painting with the portraitist Samuel Waugh in Philadelphia, where he met and became friendly with Eakins. He also received instruction from the painter Louis Bail in New Haven, Connecticut. In 1864, Moore attended classes at the Mark Hopkins Institute in San Francisco, and until 1907, he would visit the “City by the Bay” regularly. In 1865, Moore went to Europe, spending time in Munich before traveling to Paris, where, in October 1866, he resumed his formal training in Gérôme’s atelier, drawing inspiration from his teacher’s emphasis on authentic detail and his taste for picturesque genre subjects. There, Moore worked alongside Eakins, who had mastered sign language in order to communicate with his friend. In March 1867, Moore enrolled at the prestigious École des Beaux-Arts, honing his drawing skills under the tutelage of Adolphe Yvon, among other leading French painters. In December 1869, Moore traveled around Spain with Eakins and the Philadelphia engraver, William Sartain. In 1870, he went to Madrid, where he met the Spanish painters Mariano Fortuny and Martin Rico y Ortega. When Eakins and Sartain returned to Paris, Moore remained in Spain, painting depictions of Moorish life in cities such as Segovia and Granada and fraternizing with upper-crust society. In 1872, he married Isabella de Cistue, the well-connected daughter of Colonel Cistue of Saragossa, who was related to the Queen of Spain. For the next two-and-a-half years, the couple lived in Morocco, where Moore painted portraits, interiors, and streetscapes, often accompanied by an armed guard (courtesy of the Grand Sharif) when painting outdoors. (For this aspect of Moore’s oeuvre, see Gerald M. Ackerman, American Orientalists [Courbevoie, France: ACR Édition, 1994], pp. 135–39.) In 1873, he went to Rome, spending two years studying with Fortuny, whose lively technique, bright palette, and penchant for small-format genre scenes made a lasting impression on him. By this point in his career, Moore had emerged as a “rapid workman” who could “finish a picture of given size and containing a given subject quicker than most painters whose style is more simple and less exacting” (New York Times, as quoted in Hajdel, p. 23). In 1874, Moore settled in New York City, maintaining a studio on East 14th Street, where he would remain until 1880. During these years, he participated intermittently in the annuals of the National Academy of Design in New York and the Pennsylvania Academy of the Fine Arts in Philadelphia, exhibiting Moorish subjects and views of Spain. A well-known figure in Bay Area art circles, Moore had a one-man show at the Snow & May Gallery in San Francisco in 1877, and a solo exhibition at the Bohemian Club, also in San Francisco, in 1880. Indeed, Moore fraternized with many members of the city’s cultural elite, including Katherine Birdsall Johnson (1834–1893), a philanthropist and art collector who owned The Captive (current location unknown), one of his Orientalist subjects. (Johnson’s ownership of The Captive was reported in L. K., “A Popular Paris Artist,” New York Times, July 23, 1893.) According to one contemporary account, Johnson invited Moore and his wife to accompany her on a trip to Japan in 1880 and they readily accepted. (For Johnson’s connection to Moore’s visit to Japan, see Emma Willard and Her Pupils; or, Fifty Years of Troy Female Seminary [New York: Mrs. Russell Sage, 1898]. Johnson’s bond with the Moores was obviously strong, evidenced by the fact that she left them $25,000.00 in her will, which was published in the San Francisco Call on December 10, 1893.) That Moore would be receptive to making the arduous voyage across the Pacific is understandable in view of his penchant for foreign motifs. Having opened its doors to trade with the West in 1854, and in the wake of Japan’s presence at the Philadelphia Centennial Exposition of 1876, American artists were becoming increasingly fascinated by what one commentator referred to as that “ideal dreamland of the poet” (L. K., “A Popular Paris Artist”). Moore, who was in Japan during 1880–81, became one of the first American artists to travel to the “land of the rising sun,” preceded only by the illustrator, William Heime, who went there in 1851 in conjunction with the Japanese expedition of Commodore Matthew C. Perry; Edward Kern, a topographical artist and explorer who mapped the Japanese coast in 1855; and the Boston landscapist, Winckleworth Allan Gay, a resident of Japan from 1877 to 1880. More specifically, as William H. Gerdts has pointed out, Moore was the “first American painter to seriously address the appearance and mores of the Japanese people” (William H. Gerdts, American Artists in Japan, 1859–1925, exhib. cat. [New York: Hollis Taggart Galleries, 1996], p. 5). During his sojourn in Japan, Moore spent time in Tokyo, Yokohama, Kyoto, Nikko, and Osaka, carefully observing the local citizenry, their manners and mode of dress, and the country’s distinctive architecture. Working on easily portable wood panels, he created about sixty scenes of daily life, among them this picturesque vignette of a Japanese tea garden...

17th century Dutch brass Hemskirk candlestick.

Attributed to Schoelcher, Paris, France, circa 1830. Porcelain, painted and gilded. 16 1/4 in. high, 9 1/2 in. wide, 9 1/2 in. deep. Ex Coll.: by repute, Joseph Bonaparte...

40 x 50 type-c print, edition 10 Signed, titled, dated and editioned on frame label. Mounting and framing options available at additional cost. Toshio Shibata is one of Japan's lead...

Signed (LR): L; on verso: D. Ligare/ 2015

Inspired by filmmaking, American counter-culture, and the aesthetics of the New Wave, Plossu started his photographic career in the 1960s, crafting a ...

Unframed

Stepped crest with carved volutes, solid splat, rush seat, turned legs, stretchers and ball feet. Ball and ring front stretcher. Early black paint over original green.

Sigrid Sandström Untitled, 2012 acrylic on board, 84 x 60 inches

Signed and dated (at lower left): Randall Exon 07

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...

32 X 40 inch gelatin silver print, edition 10 Framed to 42 x 49.75 inches, in white frame Signed, titled, dated and editioned on label verso. OTHER SIZES AVAILABLE - PLEASE INQUIRE. ...

Pentti Sammallahti Panauti, Nepal (Boy and Girl with Basket) 1994 Gelatin Silver print

"Hair Box," 1990 (for Parkett 23) Paint on rubberized hair, wood backing, 10 x 15 x 5” (25,4 x 38 x 13 cm), Ed. 100/XX, signed and numbered A material common...

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. ...

Emily Joyce The Third of May, Mauve, 2013 10 color screenprint on BFK Rives 25 x 18 inches edition of 10, signed and numbered (printed by Gray Area Print, Los Angeles) there ...

Singed (at lower left): Jane Peterson

Gilad Efrat Untitled, 2015 oil on canvas, 110 x 110 x 3.5 cm (43.3 x 43.3 x 1.4 in) This painting is part of new series of work by Israeli artist Gilad Efrat. The paintings compris...

Signed (LR): L; on verso: D. Ligare/ 2024

For the past 30 years Barbara Jaffe has used her 4x5 inch view camera and a variety of black & white and expired pos/neg Polaroid films to create photographs that are a tribute to th...

Bruce Cohen is known for engaging his viewers with intriguing interiors in his distinctive, crisp, realist style. Influenced by Dutch still-life painting and Surrealism he orchestrat...

Edition of 30

From the series Love Me, Love Me Not

Jacques Lowe, (born Jan. 24, 1930, Cologne, Ger.—died May 12, 2001, New York, N.Y.) (born Jan. 24, 1930, Cologne, Ger.—died May 12, 2001, New York, N.Y.) German-born American photogr...

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...

Signed by artist

Philadelphia walnut Queen Anne balloon seat side chair with Savery style knees terminating in slipper feet.

Laura Letinsky Untitled #5, Guild Hall, 2013 Archival pigment print Edition of 7 Image: 48 x 37 1/2 inches Paper: 58 x 48 inches

Inspired by filmmaking, American counter-culture, and the aesthetics of the New Wave, Plossu started his photographic career in the 1960s, crafting a ...

Pentti Sammallahti Solovki, White Sea, Russia (White-Eyed Dog & Boy) 1992 Gelatin Silver print

Pastel on black paper

32 x 40 inch type-c print, framed to c. 37.75 x 45.25 inches Toshio Shibata is one of Japan's leading landscape photographers. But he has chosen a most unconventional subject for ...

Signed by artist

Pentti Sammallahti Kathmandu 1994 Gelatin Silver print

This is a photograph of John F. Kennedy’s 1960 electoral campaign and the early days of his presidency by one of the foremost humanist photographers of his generation. Capa began pho...

20 x 24 inch type-c print, edition 25 Toshio Shibata is one of Japan's leading landscape photographers. But he has chosen a most unconventional subject for his landscape photography...

Pentti Sammallahti Pyhäjärvi, Finland (Horse & Barn) 1982 Gelatin Silver print

This is a meditation on change and impermanence. Water always moves, transforming. Not one drop falls exactly the same.

signed, titled and dated on verso, artists stamp in ink

Pentti Sammallahti Kihti, Finland (Midnight Sun) 1976 Gelatin Silver print

From the series Evaders

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)

Chester County Queen Anne chest on frame with three over two over three drawer configuration retaining it's original plate brasses a scallope...

Color spit bite and sugarlift with soapground and drypoint

20 x 24 inch type-c print, edition 25 Toshio Shibata is one of Japan's leading landscape photographers. But he has chosen a most unconventional subject for his landscape photography...

A Reed-Cutter at Work [Plate XXV from the Album, Life and Landscape on the Norfolk Broads], 1886 Vintage Platinum/Palladium Print Mount 16 1/8 x 11 3/8 inches; Image 11 1/8 x 8 inches Titled and variously numbered in pencil on mount verso The English photographer, Peter Henry Emerson...

40 x 50 inch type-c print, framed to 49 x 58 inches Signed, titled, dated and editioned on label verso Toshio Shibata is one of Japan's leading landscape photographers. But he has c...

signed by artist

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

Father's Day Picnic, 1948 Gelatin silver print Signed in pencil on recto.

Sigrid Sandström Untitled, 2012 Acrylic on board, 60 x 48 inches Sigrid Sandström was born in 1970 in Stockholm, Sweden and currently Professor of Fine Arts at the Royal Institute of Art, Stockholm. She studied at Cooper Union School of Art, Academie Minerva, Groningen, The Netherlands (BFA 1997), attended Skowhegan School of Painting and Sculpture (2000) and received an MFA in Painting from Yale University in 2001. She has exhibited widely since then, with solo exhibitions in New York, Los Angeles, Houston and her native Sweden. Sandström's work was included in the Contemporary Arts Museum of Houston's 25th anniversary exhibition, Perspectives @ 25. Her first solo museum exhibition, Ginnungagap: Recent Works by Sigrid Sandstrom...

Signed and numbered in pencil on recto.

Framed, 5.25 x 8.5 x 1.5 in.

Valerie B Hird NEW MEDIA, 2020 wood, screws, foamcore, paper, watercolor, ink, electrical wire, LEDs, batteries 28 x 14 x 6 1/2 in. 71.1 x 35.6 x 16.5 cm. When the handle is tur...

VALERIE HIRD MAQUETTE FOR BOXED IN, 2019 paper, watercolor, ink pencil, wood, nails, foam core, PVA glue 17 x 9 x 2 1/2 in. 43.2 x 22.9 x 6.4 cm.

Gilad Efrat Untitled, 2015 oil on canvas, 80 x 80 x 3.5 cm (31.5 x 31.5 x 1.4 in) This painting is part of new series of work by Israeli artist Gilad Efrat. The paintings comprise ...