Adaa Art Dealers Association Of America

Cupids bow crest with a carved shell pierced splat and bold arm supports ending in carved knuckles with cabriole legs terminating in trifid feet.

Listing includes free shipping, and a 14 day return policy. The artwork will ship from London. Immaculate Conception, Villa De'este (2015) 24 ...

Oil on canvas

Over the past forty years, Malou Flato’s paintings have focused on the Texas landscape—its native flowers, blooming cactus, diverse citizenry, and especially its precious water and abundant sky. “Texas is my inspiration,” she says. “I have made my life here, and I would like to think that my art reflects the place I know best.” Malou Flato’s works can be seen in many public places in Texas and beyond. They enliven a border crossing...

This is a very popular Lehman wind up toy; emblematic of "whimsy" typical of Ernest Paul Lehman whose toy company opened in Brandenburg, Germany in 1881.. The action portrays a mama duck walking along with her three baby chicks in tow being carried in a basket from behind. The toy is nicely lithographed with a greenish yellow basket; light and dark green baby chicks, and the mother duck with yellow green features and an orange and white undercoat. The underneath of the basket is filled with markings documenting the genesis of the toy. "Paak Paak" German for "Quack Quack": are clearly spelled out along with "Lehman" "Pat. U.S.A. March 12, 1903". Printed on the side #645 indicating the catalogue number (see image). To operate: wind up the attached clockwork key on the right side; release while still in your hand to see what happens; wind up some more and then gently place on the floor to watch the baby chicks bob up and down as mama pulls them forward. Very few examples are intact---legs usually absent and mechanisms broken, and examples are incomplete because of rough play. This example is completely original with no restoration of any kind and no touch up to the lovely surface. The toy is catalogued as "EPL #645" and documented on page 197 of the book "Lehman Toys" by Jurgen & Marianne Cieslik, published in 1982. This would be a wonderful addition for the discerning collector of antiques children...

Nine out of these ten banks are of American manufacture, made between the 1950's and the 1970's, while one (the Well's Fargo Stage Coach) was made in China, circa 1990's. Banthrico, Incorporated (Chicago) made four of these banks, while similar type companies made the other six. They manufactured coin savings banks for banking institutions who used them as premiums to those who opened up a savings account. In the case of young children they were given to them to encourage thrift and savings. These (10) banks are a representation of that era 1950 to early 1970's, encompassing enticing savings themes. They were always made of white metal, and typically plated; usually in a copper finish. All of the banks listed below are pictured front, back, and bottom. Four of the banks lack the coin holding trap, which is quite common, as it was typical for children to toss them or lose them eventually upon removing the money from the bank. 1) "Pirate Bank" Circa 1950's; depicts a pirate sitting on top of a treasure chest with a parrot on his shoulder, protecting his booty. Typical original copper finish in white metal; measures 5 1/2" high x 4 1/2" wide x 3 1/2" deep. Copyright marking to the rear "55" , perhaps 1955. Has the coin trap holder but lacks the circular coin trap. Very good condition. Referenced #335 "The Penny Bank Book" by Andy Moore (published 1984)( 2) "Eagle on Cliff" Made by Banthrico Incorporated and dated 1976 (Americana Bicentennial commemoration bank) portrays a proud American eagle perched on a cliff; nice detail to original copper finish with original coin trap in near mint condition. 6 3/8" high. Made for "United Savings Bank" Referenced #145 "Coin Banks by Banthrico" by Jim Redwine (published 2001) 3) "Covered Wagon" Made by Banthrico Incorporated and from the 1950's, by "The Union Banking Company"; depicts a fully loaded chuck wagon with buckets, and a chest ":parked" on western terrain. Finished with copper finish to white metal, with the typical saw tooth coin trap intact, in excellent and all original condition. 4 5/8" long Referenced #432 "Coin Banks by Banthrico" by Jim Redwine (published 2001) 4) "Well's Fargo Stagecoach Bank" Later made promotional bank by Well's Fargo banking institution; in all original and complete condition with original paint colors of red, yellow, and black, authentic looking stagecoach; in very good condition with coin trap intact and no repaint, restoration or dents. 4 3/4" long 5) "Three Little Pigs" Inscribed on front base plate, all original condition with coin trap intact. Slight manufacturing "blow hole" at base of one of the pigs (see image specific to this); unknown manufacture. Made of copper; measures 5" high. 6) "Indian Chief" Put out by "The Multnomah Bank of Portland,m Oregon; depicts an Indian Chief in full feathered head dress and chieftain regalia; with typical Banthrico Company original copper finish and Banthrico original coin trap to the base. Measures 5" high. Circa 1962 Referenced #27 "Coin Banks by Banthrico" by Jim Redwine (published 2001) 7) "Shoe House" Bank Mistakenly called "Old Lady and the Shoe Bank"; this particular bank is of unknown manufacture (could be early Banthrico bank...

Fabulous addition to the "crazy car" examples made famous by the iconic and "Louis Marx Toy Company" manufacturers of fine quality toys and established in New York City in 1919. This...

Listing includes framing with UV plexi, free shipping to the continental US and a 14-day return policy. One 4.5 x 3.25 inch unique vintage Kodak print of Tina Chow (1975). Prints are on active consignment from the estate of Antonio Lopez. Purchase includes certificates of authenticity from the estate of Antonio Lopez. These Kodak prints are not signed by Antonio Lopez. Antonio Lopez Biography - The foremost fashion illustrator of the 1970s and 80s, Antonio (as he signed his work) was and remains one of the most highly regarded and influential figures in the fashion world. While not initially known as a photographer, Antonio was rarely without his favorite Instamatic camera, and as his career progressed he turned increasingly to photography to create fashion stories, portraits, and elaborate mise-en-scènes. A serial Svengali, as the writer Karin Nelson noted: “Lopez brilliantly transformed the women in his world. Under his tutelage, Jerry Hall, a long tall Texan he met at Paris’s Club Sept, evolved into a golden goddess. He put Jessica Lange in gold lamé evening dresses after discovering her in Paris studying mime, and gave aspiring model Tina Lutz her start (and an introduction to future husband Michael...

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...

A rare and bright blanket chest in brilliant reds contrasted with blacks. The decoration is nicely painted with urns and flowers flanked by pillars and ...

Fine quality hand made craftsmanship to this 19th century Victorian walking stick; hand carved of premium hardwood (possibly pecan), with a continuous twist design. The top is decora...

William Wegman is a renowned photographer famous for his unique and artistic photographs of Weimaraner puppies. His approach to is far from conventional, avoiding the typical "cuddly...

Art Deco "naughty" sterling silver novelty item; a cigarette case depicting a reclining nude woman on a bed in suggestive pose; hand painted enamel on oval raised plaque; with bright...

Signed, dated, numbered and titled in pencil on recto; artist's copyright label affixed to verso Painted Gelatin Silver 16 x 20 inches Edition 8 of 25

This pastel is unframed

Fine pair of British Regency chairs with caned seats; the turned back has a turned crest rail; the centre oval tablet on the back is de...

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...

Edition of 7 "Benchwork" is part of Wegman's artistic exploration of photography and staged scenes. The artwork is representative of Wegman's distinctive approach to photography, wh...

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...

"Stingaree" by artist David Everett is polychromed mahogany, and measures 43 3/8 x 40 1/4 x 21 1/2 inches. It is signed "© D EVERETT 2017". It depicts a mother and child, pelican and...

Terrell James Field Study #749, 2020 Oil on vellum 20 x 16 in (50.8 x 40.6 cm)

From 1833 to 1835 Johan Laurentz Jensen lived in France and Italy; while in Rome, he was considered the most prominent painter in an extensive colony of Scandinavian artists there. I...

Very early American wooden games board; probably the oldest I have handled, this dates to about circa 1835 and exhibits the markings of a typical cottage industry type manufacture (not unlike very early Noah's Arks). Obviously entirely hand crafted; measurements are not exactly square (left to right; top to bottom), probably made of a local soft wood, and hand painted with squares not perfectly delineated. Black light and "loop" inspection reveals age crazing and original paint that, in conjunction with original wear and no attempt to touch up, dates it to the early 19th century. Most definitely American, as the last thing an English immigrant would have brought to America at that time would have been a game. When closed, or in the folding position, the board game simulates and is made to look like two books resting side by side (see images), and thusly, was made to sit on a book shelf, either horizontally or vertically; and to be pulled out to play games when desired, which would have been either the game of checkers (draughts), chess, or backgammon. The board opens up to a two sided game option. On one side is the proverbial 64 square (English/ American version) of chess or checkers; and on the other side is a backgammon board. Both sides are hand painted in gold and black, with a rust colored border around the checkerboard. The interior backgammon play area is also black and gold with the same color rust area to the central part. Nail hinges in the center frame, pivot the two sides to open, while a leather covering borders the edge trim, which is 50% lacking on the hinge side. I state the condition to be good, considering it's age, it's use, and the fact that it is still very "usable" and, if taken care of, will probably continue to be so for nearly another 200 years! The checkers, (12) black pieces and (12) yellow (the correct numbers) are hand carved in wood and hand painted. The backgammon pieces (stored in period wooden box) contain 14 yellow hand painted and carved pieces and (13) black ones. (15) of each color are used to play backgammon (simply use the checkers, which are just about the same size (see images) to make up the difference. Most antique game boards...

Fabulous American vintage all tin wind-up toy with attached key and clockwork mechanism, whereby upon winding it up, the character (Joe Penner) waddles aimlessly across the floor, hat flying in the air with notorious cigar in motion (see attached video with listing). The toy is in wonderful and complete original condition with all original parts and authentic factory paint. It is often found incomplete (cigar or hat missing more often than not); and usually doesn't work properly. My example works great and is in nice bright original paint and lithography, in multiple colors of a black and white checkered suit...

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, ...

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...

JULIE HEDRICK SOLAR WINDS / EKI, (Basque) Sun Goddess, 2021 oil on canvas, triptych 60 x 180 in. 152.4 x 457.2 cm.

Gail Norfleet earned her BFA at The University of Texas at Austin, and her MFA at Southern Methodist University. She has had solo exhibitions at The McKinney Avenue Contemporary and ...

Texas artist Jim Stoker began developing his confetti-splatter technique of painting in 2000 to depict his interpretations of the unique flora along the Guadalupe River, as well as t...

Very nicely appointed Victorian rush seated ladder back chair; English and mid 19th century. A little different with the fret back design,...

Gelatin Silver print mounted to archival board. Signed, Dated, and numbered in pencil on mount recto. Signed, titled, and dated in pencil on mount verso. Edition of 45.

Signed, dated and numbered in pencil on recto Signed, titled, dated and numbered in pencil on verso Silver gelatin print Edition of 25

image size: 9 3/4 x 12 5/8 inches William Wegman is a renowned photographer famous for his unique and artistic photographs of Weimaraner puppies. His approach to is far from conven...

Oil on canvas

The greenhouse became a favorite subject of Donald Vogel's in the 1980's. As Vogel reflected in the 1998 catalogue published for his traveling retrospective exhibition, "The greenhou...

Philadelphia Queen Anne side chair with yoke crest, solid splat and cabriole legs terminating in slipper feet.

This is a hard to find pre war vintage, Made in America wind up tin toy by The Lindstrom Toy Company of Bridgeport, Connecticut, circa 1928-1932. The action is fabulous; when wound ...

Outstanding example of this iconic and highly sought after tin advertising sign made by the Shonk Company, Chicago, Illinois, circa 1906. The subject matter depicts a farm scene with...

Donald S. Vogel has been a set designer and technical director in the theater, a fine art dealer, and a writer, but first and foremost he is a painter. From a young age he was intrig...

"He [Cobble] has come to accept the fact that low production can lead to under appreciation in the short run, but he also knows that his gifts of perception and discrimination are ra...

This hard to find ensemble consists of a uniquely configured 18th century Georgian night cupboard circa 1770, and a six piece Victorian Mason's Ironstone toiletry set for washing and toiletry needs, circa 1835. The washstand conveniently accommodates all of the pieces from the Mason's set in their appropriate compartments as if it was specifically made for the grouping (see images). The Georgian washstand...

Fabulous looking fine quality and unusual large size 18th century George III table top yew wood sarcophagus shaped box. While it could have been a tea caddy; at 14" wide it seems ove...

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...

Wonderful polychromed lithograph under glass with reverse glass hand painted gold gilt rectangular double lined border, along with a hand painted black matte; unique; I have not seen...

Mary Weatherford The Robot, 2018 Spit bite aquatint on gampi paper chine collé 35 1/4 x 28 1/2 in (89.5 x 72.4 cm) Edition of 25

Associated with the Minimalist art movement of the 1960s, Mangold developed a reductive vocabulary based on geometric forms, monochromatic color, and an emphasis on the flatness of t...

Simply a beautiful and well made "American Sampler On Linen" with initials "MCB" bordered in blue; in excellent and all original condition. A stitched green framed border; features ...

After a tour of duty in the US Navy, Miles Cleveland Goodwin earned a BFA from Pacific Northwest College of Art in Portland, Oregon, in 2007, and eventually returned to coastal Missi...

These are from the Thomas Devenish Collection (documented below; see provenance). This pair of mirrors represents the transition period of rococo to neoclassical aesthetic which cont...

This rare and unique game is in excellent all original condition with it's original, highly lithographed colorful box, This seemingly little used pre-war game is completely intact an...

"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 is a lifelong ph...

Fluted stiles, rare elaborate carved splat, acanthus carved knees, two shells and cabriole legs terminating in claw and ball feet. Philadelphia, PA, circa 1760-1775.

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...

Made of pressed steel and in excellent all original condition, this wind-up toy has just about all of it's original strong paint with zero touch-up and no restoration (see images). It works great (video available upon request), and is quite substantial and sturdy in stature and size at 14 1/2" long; almost has the feel of a keystone or buddy L piece. Girard made an almost identical vehicle, so it is my feeling that Marx bought the patent from them and manufactured under their own name. There are no scratches or dents and the original gold stenciled writing to the doors and engine hood states "Fire Dept...

The paper size is 30 1/8 x 44 inches

Georgia O'Keeffe on Her Roof, New Mexico, 1967 Signed in ink on recto Gelatin Silver Print Image - 12"x18", Paper - 16"x20", Matted - 20"x24"

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...

Terrell James A Collective Pulse, 2022 Oil on linen 29 x 42 in (73.7 x 106.7 cm)

This was a limited edition hand painted porcelain made in 1992 and retired in 1995; manufactured by Lladro in Spain. Designed and sculpted by world renowned artist, Juan Huerta, it i...