Adaa Art Dealers Association Of America

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 ...

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...

Gilad Efrat Untitled, 2013 oil pastel on paper, 22 1/2 x 28 1/2 in (57.2 x 72.4 cm)

Edition of 15 (includes all sizes). Signed, titled, dated and editioned on frame label provided. Final shipping costs will depend on the size of the print ordered, and whether it is ...

Signed (at lower right): A. Weiskopf

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

Colored marker on heavy paper

From the series Love Me, Love Me Not

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 "...

51 x 63 inch type-c print, framed to 52 x 66 inches. Edition 7. Signed, titled, dated and editioned on label verso. Smaller sizes also available to order - please inquire. In a pers...

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

Archival pigment print (edition 8), unframed. Framing available at additional cost. Signed, titled, dated and editioned on frame label verso. In the latest series by Simone Rosenbau...

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 "...

18th century brass Spanish frying pan stick.

Human and Animal Locomotion. Plate 647. Jumping a hurdle; bareback; rider, 105, nude; gray mare Pandora 14 x 20 inch original vintage collotype print from 1887 Image size 5 7/8 x 17 ...

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...

Candlestand with circular top, turned pedestal, three turned legs and ball feet. Black paint is not original.

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

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...

Signed (at lower right): A. Weiskopf

The result of twelve trips over three years, Moore’s work in the American South uses historic homes, both grand and modest, the preserved backroom of a Jewish social club, the curta...

The result of twelve trips over three years, Moore’s work in the American South uses historic homes, both grand and modest, the preserved backroom of a Jewish social club, the curta...

A well conceived dressing table with nicely molded top with four notched corners. The drawer formation is one drawer over two. Scalloped aprons add elegant form associated with the Q...

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 ...

Dario Robleto Untitled (Shadows Evade The Sun l), 2012 Suite of 9 archival digital prints on Hahnemuhle Pearl paper mounted on mat board; a collection of stage lights taken from fan-shot concert...

The result of twelve trips over three years, Moore’s work in the American South uses historic homes, both grand and modest, the preserved backroom of a Jewish social club, the curta...

Stanley Twardowicz (1917–2008), a one-time orphan, Golden Gloves boxer, professional baseball player and auto worker, emerged from a hardscrabble upbringing in Detroit to become a po...

From the series Floating World

From the series Fragile Land

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...

NO.SNOW, 2014 gouache on paper mounted on canvas, mounted on panel 29 x 22 inches If some artists’ studios are factories, efficient and methodical, and some are gardens, cultiva...

Angela Fraleigh Through the half-drowned stars, 2015 oil, ink, and synthetic resin on canvas 66 x 90 x 2 in (167.6 x 228.6 x 5.1 cm) Angela Fraleigh (born 1976, Beaufort, SC) earned...

From the series Cells

From the series Floating World

From the series Evaders

Human and Animal Locomotion. Plate 715. Dogs; three, tugging at a towel, Ike, Maggie, etc. 14 x 20 inch original vintage collotype print from 1887 Image size 6.5 x 17.25 inches. Muy...

From the series Chasing Good Fortune. Two prints each measuring 80 x 60 cm or 31 1/2 x 23 5/8 inches. Overall 80 x 120 cm or 31 1/2 x 47 1/4 inches.

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. ...

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...

Marc Swanson His & Hers, 2017 graphite and collage on paper 13 7/8 x 10 7/8 in (35.2 x 27.6 cm) paper size 20 7/8 x 17 7/8 x 1 1/2 in (53 x 45.4 x 3.8 cm) frame size

Luca Campigotto captures the graffiti and street art of 5 POINTZ. He uses big equipment to capture big subjects - from the absolute vibrant density of 5POINTZ...

American, third quarter of the 19th century. Pine, gessoed and gilded, with mirror plate. Measures: 81 ½ in. high, 59 ½ in. wide. Condition: Excellent. The gilding has been cleaned and very, very slightly inglided as necessary. The ball at the upper left was missing and has been replicated based upon...

French. Plateau in the Restauration taste with grape and leaf motifs, circa 1825. Ormolu and patinated bronze, with mirror plate and wood backing. Measures: 15 7/8 in. diameter, 3 11...

Linarejos Moreno Art Forms in Mechanism XXIV, 2016 Edition of 3 + 2 AP archival digital print on Baryta paper 75 5/8 x 46 in (192 x 117 cm) 77 3/4 x 48 x 3 1...

From the series Blaze

Beat, 2012 oil on linen, 24-1/4 x 21-1/2 inches In each saturated color image, Jim Richard seamlessly collages photographs of fine art objects into pictures of living rooms decked in 1960s and 70s...

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...

From the series Floating World

Unknown Adventures In Unknown Spaces #14, 2013 acrylic and flashe on canvas, 24 x 30 inches This canvas is part of a recent series of works entitled “Unknown Adventures in Unknown Spaces” by Houston-based painter Robert Ruello. Robert Ruello (b. 1958, New Orleans, LA) lives and works in Houston TX. He received an MFA from Columbia University (1997), a BFA from the School of the Art Institute of Chicago (1987), and a BA in Psychology from Loyola University, New Orleans, LA (1982). From 1987-89 he was an artist-in-residence at the Core Program, Glassell School of Art, Museum of Fine Arts, Houston, TX. His recent exhibitions include solo shows at Lone Star College, Woodlands, TX; Texas A&M University, Commerce, TX; and the group exhibitions Mapping Galveston, Galveston Artist Residency, Galveston, TX, and In Plain Sight, McClain Gallery...

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...

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...

Unknown Adventures In Unknown Spaces #12, 2013 acrylic and flashe on canvas, 30 x 24 inches This canvas is part of a recent series of works entitled “Unknown Adventures in Unknown Spaces” by Houston-based painter Robert Ruello. Robert Ruello (b. 1958, New Orleans, LA) lives and works in Houston TX. He received an MFA from Columbia University (1997), a BFA from the School of the Art Institute of Chicago (1987), and a BA in Psychology from Loyola University, New Orleans, LA (1982). From 1987-89 he was an artist-in-residence at the Core Program, Glassell School of Art, Museum of Fine Arts, Houston, TX. His recent exhibitions include solo shows at Lone Star College, Woodlands, TX; Texas A&M University, Commerce, TX; and the group exhibitions Mapping Galveston, Galveston Artist Residency, Galveston, TX, and In Plain Sight, McClain Gallery...

gouache on paper mounted on canvas mounted on panel, 30 x 22 inches

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...

Signed and dated (at lower right): 2011

Signed (at lower right): FJK

4 x 5 inch contact print (image size), on 8 x 10 inch sheet, edition 10, signed on verso LARGER SIZES AVAILABLE - please inquire. Toshio Shibata is one of Japan's leading landscape ...

From the series Chasing Good Fortune

From the series Fragile Land

From the series Fragile Land