Adaa Art Dealers Association Of America

Valley House Gallery is honored to present a selection of paintings from the estate of American artist, John Hartell (1902-1995). John Hartell taught two disciplines at Cornell University in Ithaca, New York: freshman architecture and graduate painting. He was a much-loved professor there from 1930 until his retirement in 1967; one of his most illustrious students is the architect Richard Meier. As an artist, Hartell's first solo exhibition was in 1937 at Kleeman Gallery in New York. He exhibited at Kraushaar Galleries in New York for four decades, beginning in 1943. The Hartell Gallery at Cornell University, under the Sibley Dome, is named for him. In describing John Hartell, the artist Michael Boyd...

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...

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 ...

This was a limited edition hand painted porcelain made and retired in 1991 by Lladro in Spain. Designed and sculpted by world renowned artist, Juan Huerta, it is entitled "Summer Stroll...

Fabulous near mint condition post war vintage metal tip tray (hardly used) with compelling subject matter (patriotic woman seated on a crescent moon with clou...

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...

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...

Kobe Toys are very mysterious and not much is known about them. They were created and hand made, strictly for tourists and foreigners (never exported) during ...

Lucian Freud Susanna 1996 Etching on Somerset Textured White paper 20 x 19 5/8 inches; 51 x 50 cm Edition of 40 Initialed and numbered in graphite (lower recto) Frame available upon request Published by Matthew Marks Gallery...

Late 19th century sheet iron and metal "Trotting Horse" weathervane. It has a nice weathered color and patina and is very authentic with six "healthy" bullet holes to boot. I basica...

51 x 63.5" (framed size) Fujicolor chrystal print Edition #3/5. Signed, titled, dated and editioned on label verso. Peter Bialobrzeski spent over two years travelling through Ge...

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...

John Cage Medicine Drawings , 1991 Handmade paper with various medicinal herbs (set of twelve) 14 x 12 in (35.6 x 30.5 cm) each

Signed and dated (at lower right): L; (on verso): D. Ligare / 2024

Chinoiserie hand painted 19th century Chinese export jewelry cabinet circa 1880; is fronted by a pair of raised panel double doors; decorated in gilt with scenes of Chinese figures, ...

From my own private collection of outstandinq quality antique furniture items is being offered this "Magnificent Set of Eight George I Walnut Chairs" in impeccable original conditio...

"Behind my canvases, collages, and drawings lies a singular proposition: places are not inert; they are repositories for all that passes through them. My work is an inquiry into the ...

Very unusual western Americana theme silver plated covered tureen, consisting of four feet of cast and silver plated deer heads; rams heads on each end; and opposite facing deer heads at the top of the lid to lift off of the bowl. Sides and top are decorated with elaborate floral engravings. It was manufactured by Meriden B...

Unique Victorian table top (cheval type) swivel mirror, that would have been on top of a dresser and used by a lady as a vanity mirror to tend to her "make up" and hair; or by a gent...

Very unusual shell on the crest, carved volutes on the splat, acanthus carved knees. Cabriole legs with carved volutes on the knee blocks and terminating in claw and ball feet.

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...

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,...

Signed in pencil on Verso Gelatin silver print Image: 22 1/2" x 15, Paper: 24" x 20, Matted: 24" x 30"

Robert Rauschenberg Autobiography, 1968 Three panel offset lithograph on three sheets of paper 66 1/4 x 48 3/4 inches each Ed. 2000, unsigned Unframed Can be displayed horizontally o...

Katharina Fritsch Schlange / Snake 1999/2001 Plastic, paint 7/8 x 7 1/2 x 3 3/8 inches; 2 x 19 x 9 cm Edition of 240 Accompanied by a certificate of authenticity signed and numbered ...

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...

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 ...

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...

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...

American hardwood fire surround is nicely carved, with floral decor, raised relief and a pair of fluted ionic columns on each side beneath the mantel. The finish has been "marbelized...

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 ...

Dallas artist David A. Dreyer’s eighth solo exhibition at Valley House Gallery was presented early in 2021, accompanied by an exhibition catalogue. His recent paintings are inspired ...

This "Ethan Allen" running horse weathervane was one of the more popular ones manufactured by the prolific copper weathervane makers of the late 19th century, "Harris & Co." of Bosto...

In her work, Allison Gildersleeve addresses the theme of memory, exploring the phenomenon of past and present becoming collapsed or entwined by the emotional experience. Gildersle...

Born in 1933, Otis Huband declared his intention to be an artist at age 6. He earned his BFA and MFA at Richmond Professional Institute of the College of William & Mary, now Virginia...

This piece is offered framed. The frame size is 23 1/2 x 30 1/2 inches (59.7 x 77.5 cm); the image image size is 20 3/4 x 27 3/4 inches (52.7 x 70.5 cm) Edition of 7 "Benchwork"...

This pastel is unframed

David Collins was raised in Dallas, received a BFA from the Rhode Island School of Design, and currently lives and works in New York City. Collins has had numerous solo exhibitions i...

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...

Very rare and hard to find in this complete condition with as many pieces (over 35), this "Gentleman's Necessaire", or campaign "Dressing Table Box" is English and circa 1795 as per the style, and confirmed by the 18th century silver marks on items enclosed. Campaign furniture, and accessories were made to tend to the day to day needs of those traveling, most often for the upper class, the military, and those in high socioeconomic standing. A very similar Campaign box belonging to the Duke of Wellington and now in the Victoria and Albert Museum, appears on page 141 (illustration #157 of "British Campaign Furniture" published in 2001 by Nicholas A. Brawer; the leading recognized historian on the subject. The furniture and accessories were designed to be easily unpacked and packed back up again, condensed and compact for minimum storage, and still fulfill luxury "needs" for the well to do. The flush inserted brass handles on this box were designed to minimize protrusions for easier transport when traveling. The necessaire contains a plethora of instruments, utensils, storage bottles, boxes, to contain pills, medicine, potions, soap, shaving needs, snuff, beverages, spirits, tea, coffee, fragrance, incense, toothpaste, ink, and anything else necessary or wanted to maintain appearance and the "Beau Brummell" type lifestyle desired by the aristocratic gentleman. These items were housed in; screw top miniature bone canisters, fine cut glass crystal vessels with silver and silver plated tops, multiple miniature vertical wooden pocket drawers, a carved wooden lidded soap dish; all "fitted" in a beautiful brass bound and hinged mahogany box. The dressing box is neatly divided into various sections to store these implements. The center front bottom drawer is independently accessed and opened by a key lock and likely utilized for personal effects, jewelry, money, and letter writing, and diary entries.; note the fitted interior, design, "cubbies", and sections (see image). NOTE: It would be advisable to NOT use the key to lock this drawer just in case it stays locked and does not reverse, thereby creating difficulty reopening the drawer. The box maintains it's original surface and there are no restorations to any of the wood or brass mounts. A non discernible script monogram on a brass plate adorns the top (see image). Worth noting is the copious provenance accompanying this piece; the original description tag from the British antiques dealer; the "condfdential" letter by purchaser to recipient "Horace" reviewing the Dressing Box attributes and description; and finally, the Customs form for entry into the United States with Santa Barbara it's ultimate destination and a valuation of 3 pounds; less than ten dollars at that time---- 1950!!!!! (see images). Dimensions: 11" wide  x 8 3/4" deep  x 5 1/2" high Contents: implements in red bag sewing hook with shell handle second smaller sewing hook with built in swivel tool to bone handle large metal tweezers rectangular bone device with center hole small hook with bone handle silver plate corkscrew...

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...

Lovely child's mid-Victorian hardwood rocking chair, ebonized with hand painted polychromed floral stenciling to the top back rail in colors of blue, green and red; gold line and fle...

Listing includes framing with UV plexi, free express shipping and a 14-day return policy. Four 4.5 x 3.25 inch unique vintage Kodak prints featuring Tina Chow. 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. Frame has some minor damage and is note in the pictures. The price reflects this with a reduction compared to similar listings. 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...

(3) American Victorian Silver plated etched floral themed design napkin rings; Circa 1880's; along with a set of (8) mini 6" diameter circular chargers (often used as butter dishes o...

Offered for sale is a risque Art Deco Sterling Silver Cigarette Case, often referred to as a "naughty" because of it's bawdy subject matter; that being; of ...

Allison Gildersleeve was born in Connecticut in 1970, earned her B.A. from the College of William and Mary and her M.F.A. from Bard College. Gildersleeve lives and works in Brooklyn,...

Pigment and aluminum dust on canvased board. Whimsical painting of a figure in the style of a classical nude.

Fine quality circa 1790 Georgian letter box, with three compartment fitted interior (see image). Exterior has original double brass hinged slope top with serpentine shaped front, and...

Listing includes free shipping in the US and a 14-day return policy. All prints are made to order and will arrive in mint condition directly from Will Adler's studio in Santa Barbara. Will Adler Malibu, 2009 16 x 24 inch archival pigment print Edition 3 of 8 Signed on adhesive certificate Other sizes are available from the same edition. 30" wide, 40" wide, and 50" wide. Please inquire for pricing. Artist Biography - Will Adler is a 38 year old west coast photographer known for his distinctive take on the surf world. Adler's laid back, light infused images, (as often of women surfers as men) convey the spirit and atmosphere of place as much as the action of the sport and have earned him a cult following in surfing and photography circles. For his summer show at Danziger Gallery, Adler is showing pictures from Hawaii, California, and Montauk shot for himself and for magazines such as Juxtapoz, Neon, Surfer, WAX, and The New Yorker, His commercial clients have included Quiksilver, Patagonia, Nike, and Hixsept. The 2014 summer show at Danziger Gallery was curated by Tom Adler...

The mark on the underneath (see image) indicates that this spittoon is of Japanese Imari porcelain, manufactured circa 1880, and made specifically for the American market for the preponderance of bars and saloons at that time. These were popular from 1865 to the turn of the century; this is a particularly fancy and elaborate example. Note the copious and highly detailed and beautiful floral decoration to the inside of the upper portion of the spittoon; pretty fancy for something meant for spit and saliva! Fantastic and all original condition with no cracks, no chips and very bright paint in sharp colors of blue rust and pink, and meticulously painted in a floral pattern. Several of these would have been “stationed” in strategic places within a saloon. This is a wonderful piece of porcelain, and quality item of saloon and Western United States history...

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...

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...

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...

Kate Shepherd House of Levy, 2022 Oil and enamel on panel 20 x 14 1/2 in (50.8 x 36.8 cm) JPHB 5184

Vera Barnett has taken on a range of themes in her works, producing series of paintings inspired by phobias, famous artworks (as in her series "Classical Plastique,") or most recentl...

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, ...

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

"Up Here Down There" by JR, Oliver Jeffers. 2016. Hand embellished lithograph in colours on 270 grm BFK Rives paper 28.9 x 20.3 inches unframed (please inquire about framed dimensio...

This original vintage friction activated toy sedan" Fire Chief" Car by The Marx Toy Company, circa 1930, is a difficult toy to find, especially in this variation, which I have not se...