Adaa Art Dealers Association Of America

Vintage platinum/palladium print 66NNF Titled in pencil on recto Variously numbered in pencil with plate number printed on verso. The English photographer, Peter Henry Emerson, promoted photography as an independent art form and created an aesthetic theory called “naturalistic photography.” Trained as a physician, Emerson first began to photograph as part of an anthropological study of the peasants and fishermen of East Anglia. These black-and-white photographs, published in books such as Life and Landscape on the Norfolk Broads...

Well made black mink hat designed and sold by I. Magnin & Company in the mid 1960's. The style, undoubtedly worn and made popular by Julie Christie in t...

This bright and colorful circus poster depicts six seated clowns with their backs to the audience and an alphabet letter on their back spelling out the word "Circus". It is a reissued poster by Ringling Brothers from 1971 of one of their original 1936 promotional circus posters. To commemorate their 100th anniversary, in 1971, Ringling Brothers and Barnum and Bailey, produced reissues of some of their select and most famous authentic posters dating from 1883 until the 1930's. There were 30 different posters, and they were advertised as "The only antique posters authorized by the greatest show on...

The Pelican Mechanical Bank is made of cast iron and was manufactured by The J. & E. Steven's Manufacturing Company, in Cromwell, Connecticut in 1878. It was, however, created by John Gerard of the Trenton Lock & Hardware Company in Trenton, New Jersey. This is probably the best example I've had for sale and is in excellent all original condition and paint. Often times the top beak of the pelican is replaced or repaired this example has the original beak. There were several variations made of the figure in the pelican's mouth. This is the "mammy" example. The bank was finished in both a gold and a dark...

Titled on recto Vintage hand painted albumen print Paper 13 x 9 1/2 inches; Image 11 x 8 inches

Very interesting wooden still bank with lots going on. All hand-carved of wood with four small circular risers elevating the base. There is a water pump with a bucket hanging from it and a metal pumper attached to the top. A hand-carved and painted brown pine tree is attached at the opposite corner with a large water well to the other corner. A lady with outstretched arms and a "King Cole" type headdress seems to be reaching out to her baby dressed in green who is lying down on top of the well, next to the coin slot. Perhaps she is about to bathe her. A bird looks on from atop the perch protruding from the pump. Dominant hand painted colors are different shades of brown and all original with no repaint. Very nice all original paint and condition with a small chip missing here and there to this handmade, kind of "folksy", and very well done bank (see images). A round circular key lock trap for releasing the coins is on the underneath, along with "Wishing Well German" handwritten on the opposite corner (see image). Whether written by an earlier collector or maker is not known. Dimensions: 4" square x 3 5/8" high. A unique one of a kind piece to add to a collection of still banks and a nice addition to a Folk Art collection (from my own collection). I am a leading specialist in the field of antique coin...

Signed, titled, dated in ink on photographer's label. Archival pigment print on Kozo Paper Image/Paper: 12" x 8" AP 1

Rare pair of Regency bronze candleholders from the London, England workshop of George Penton on New Street Fetter Lane. He was well known and recognized by both British and American connoisseurs of fine art during the late 18th and early 19th century. These Regency candleholders are marked and embossed "Published by G. Penton Jan.Y 1 1808". The Egyptian motif, the sphinx like figures, and recumbent lion at the base, all indicate that Penton was most certainly influenced by Thomas Hope and his 1807 publication "Household Furniture and Interior Decoration". The ornate and detailed appointments; from the multiple medallions adorning the candle cups, rope and tassel design to the drip holders, to the fine quality representation of the sphinx, lion, and mask on the base, with floral leaf pattern to the perimeter, all are emblematic of fine quality Regency period household decorations. These are a unique and beautiful pair of Regency candleholders from an important maker and an impressive collection (see provenance below). Perfect for the discerning collector of 18th and 19th century antiques. The condition is outstanding and all original with no restoration. Dimensions: 10 3/4" high x 3" wide x 4 1/2" deep George Penton's work can also be found at St. Michaels Episcopal Church in Charleston, South Carolina where a brass chandelier with provisions for holding 45 candles still hangs. It is the oldest of these types of church chandeliers in America, and is referenced in an article in a May 18th, 1907 issue of The Atheneum. It was installed in 1804; information regarding this can also be found in "Written Historic and Descriptive Data, South Carolina, St. Michael's Church" prepared June 27th, 1941. Provenance: The Millicent A. Rogers Collection (See underside of candle holder image): Millicent Rogers (1902-1953). Noted Socialite, Fashion Icon, and Art Collector. Standard Oil Heiress and granddaughter to Henry Rogers...

EX COLL.: the artist; to I. David Orr (1904–1997), Long Island, New York; to his estate, 1997 until the present Originally trained as a figurative painter, Kline was an exceptional ...

Offered are a pair of post war Japanese Kabuki paddles circa 1960, featuring a male and female Kabuki character actors in full traditional Japanese r...

large abstract oil painting on canvas green orange brown

Colorful and scenic large folio lithograph of redwoods in the California Sierras, done by well-known California painter Frederick W. Becker. Becker was born in South Dakota in 1888 and lived an itinerant life, winding up in California in the 1920s where he was most active and best known He studied with noted American Impressionists as Hugh Breckenridge, Philip Leslie Hale...

"Dancing Dog" is a fairly scarce toy to acquire, especially in this excellent condition and working order. Windup toy is lithographed and hand painted in colors of black and greenish grey, and the name "Spot" is printed in bold letters on the red collar. This is American made in the 1920's having been manufactured by the Lindstrom Company of Bridgeport, Connecticut; established in 1913. Markings to each side of the dog reveal its genesis; "The Lindstrom Tool and Toy Co.; Made in U.S.A." "Patent Applied For"; on the other side is "Dancing Dog". "Dancing Dog" is in excellent condition and is completely original with no repairs or repaint. It works perfectly and is quite amusing. To operate; wind up the attached key on the side, a couple of times; with front legs in the air, place down by his hind legs on a hard surface and watch "Spot" dance. He carries on for quite some time, dancing around in a circle and then side to side. (see attached video accompanying the listing). Dimensions: 5 1/4" wide x 4" high x 2 1/4" deep. Provenance: From a recently acquired discerning West Coast Collection of tin toys. See my other listings of over 100+ vintage toys and antique children's toy savings banks from which to chose. Note: After 40 plus years of dealing and collecting toys, I am justly qualified to guarantee and present the authenticity of antique and vintage toys and children's playthings; important considering the fakes and reproductions in the marketplace. My toys operate properly and are as stated and accurately described. it would behoove an enterprising collector, dealer, or decorator to take advantage of the opportunity to buy as many of the vintage tin toys...

Paul Sormani (1817-1877) designed and was the maker of this superb quality small dressing table; from his Paris workshop at 10 R. Charlot Park (this was his second workshop---opened in 1867). The attention to detail and intricate design, in addition to selection and application of premium materials and resources are typical of Sormani dedication to excellence, as was recognized by many of his contemporaries during several mid-century Parisean exhibitions. Brass inlaid Fleur de Lis medallion decorates the center; surrounded by beautiful and rare burl Amboyna veneer wood from Indonesia. The surface is bordered by a bold brass application to the serpentine perimeter. A satinwood inlaid border decoration to the surface further enhances the decor. The highly figured veneer design of the surface is further on display to the rectangular 4" skirt support above four elegant cabriole legs with full length linear bold inlaid and applied brass accoutrements to the corners; top to bottom; ending in bronze mounted feet. The special interior is accessed by lifting the top up connected by a pair of decorated and embossed rear hinges; revealing a full surface mirror back and a fitted storage sections with a sliding tray for personal particulars; jewelry, papers, make up, sewing implements, or valuables as may be kept private by locking mechanism which bears the signature and street address of "Paul Sormani, 10 R. Charlot Park". The condition of the table is original, sturdy, and well made with no replacements. Surfaces have a mellow patina displaying warm, age related hues. A small rectangular section to the top surface measuring 2" x 3 1/2", just off the left and front of the center medallion is present. It does not look like a replacement because the grain transcends the section matching perfectly. It simply looks like an early restoration of some kind; possibly done contemporaneously with the manufacture of the table and possibly at the workshop of Sormani Maison because it is done so well. Please note the close up image (#3) of this repair. The base of the interior underneath (see image) is fastened with butterfly wood...

Five mechanical bank trade cards are displayed in two separate frames. In one frame are three polychrome trade cards, which the salesmen typically carrie...

Oil painting on linen of chandelier in overgrown forest. nature trees landscape surreal

Antique toys like this (wind ups) are difficult to find in outstanding operating condition as this one (see the video attached) because of the rough play they would have received from the children who owned them. In very good and all original condition and paint in green, white, yellow, and flesh tone; the paint and lithography has no touch up or repaint of any kind; there is zero restoration. To operate, just turn clockwise the attached clockwork wind up key on the back of the girl and the she dances around in a circular motion for quite some time. "Dancing Katinka" is an all tin wind up toy...

Three figures are seated at a table where rests a jug of ale; all on a rectangular oval base where the title of the porcelain is stated in gold gilt script "Auld Lang Syne...

An elegant expression of clean lines and beautiful walnut. This cupboard has a raised panel door and a scalloped tail below with two shelves.

Perhaps the wildest action of all the Lehman toys, said to resemble Ernest Paul Lehman's temperament (founder of the company), "Balky Mule" was first manufactured in 1897 in Berlin (Brandenburg), and had a multi decade run; this example is from around 1909 (see image with markings to the rear of the carriage). The toy is catalogued as "EPL #425" and documented on page 59 and 60 of the book "Lehman Toys" by Jurgen & Marianne Cieslik, published in 1982. To operate the toy; wind up the attached clockwork key on the underneath of the carriage and place the toy on the floor. Do not over-wind and be gentle, as the toy is aggressive and over 100 years old. The toy will go backwards and forward, and the clown will pop up and down as the cart goes in several different directions across the floor until it winds down (see video accompanying the listing for guidance). The toy is found broken and/or inoperable, more often than not, because of the rough action, and typical abuse by children (after all, it was a toy). This example is in very nice original condition and works well. The lithography and hand paint is bright and original with no touch up or repaint. The hand paint is; flesh tones to the face of the clown, red trousers, orange hair, and grey paint to the seat of the carriage. The clothing to the clown figure is still intact and all original. The lithography to the wheels features brightly colored clowns and a German marking logo. What is really unusual is the fact that the donkey still has all four of its loosely attached original legs, considering the aggressive action of the toy. The metal on the donkey is actually treated with "fabric like" paint, to simulate fur. All in all this is a really cool toy and a "must have" for the collector of tin toys, or someone who simply wants a wonderful example of an early, "turn of the century" iconic wind up toy. Provenance: Recently acquired from a prominent toy collection in Los Angeles, California Dimensions: 7 1/2" long x 3" wide x 5" high Note: After 40 plus years of dealing and collecting toys, I am justly qualified to guarantee and present the authenticity of antique and vintage toys and children's playthings; important considering the fakes and reproductions in the marketplace it would behoove an enterprising collector, dealer, or decorator to take advantage of the opportunity to buy as many of the vintage tin...

Signed on recto. Vintage platinum print Image 5.75 x 7.5", Mount 6 x 8", Mat 16 x 20"

Signed, titled, dated in ink on photographer's label. Archival pigments on Kozo paper 8 7/8 x 11 3/4 " 22.5 x 30 cm Edition 2 of 10

For the mechanical bank and toy enthusiast, listed is a tin, lithographed and painted, all original 1960s mechanical bank made by the Yone Company of Japan (see image of logo on side panel). The company was founded in 1950 and is typical of the post war companies who produced outstanding children's toys. The action is unique, clever, and encourages saving money. With the bank wound (attached key wind on the underneath (see image); place a penny on the spot provided on top of the bank. The mouse dashes out of the grey shoe...

Michael Gregory was born in 1955 in Los Angeles, CA and received his BFA from the San Francisco Art Institute in 1980. Previously living and working in Bolinas, California, Gregory h...

Fine quality hand painted porcelain humidor is in excellent all original condition with no chips, repairs, or overpaint; nice bright crisp paint and detail. No mark, but definitely American, circa 1900 era. Note the detail to the Indian's face and his elaborate headdress. Native American Indians were especially attracted to tobacco and related products and relished the opportunity to pose for pictures on that topic; note cigar store "Indians", match safes, and humidors. This is a very desirable and item of tobacciana with the Indian subject matter and the attractive multicolored hand painted Indian chief with headdress, probably of note but I have not been able to accurately identify him; quite possibly "Big Bow" an Indian warrior who has been identified on other similar objects. Grace Young...

Malick Sidibé (1935-2016) was renowned for his celebrated black-and-white photographs of the youth culture in his hometown of Bamako, Mali.

This late 19th century miniature 3-drawer dresser with original mirror mounted above, was likely used as a salesman's sample by an itinerant sales person who traveled the countryside promoting his articles, usually by seeking out merchants to take orders based on this scaled down miniature bureau, or by leaving it on display in a merchant's establishment to take orders from that merchant's customers. This American bureau...

A pair of diminutive perfume bottles are contained in this "trunk designed" carrying case for travel. Something unique in the way of style and utility for the antique perfume bottle ...

Very rare and unusual piece, a sterling silver "note holder" fronted by an Indian Chief on the front in high relief. A bale on top provides for a necklace and hanging as a decorative piece of jewelry. Other decoration on the front includes a tomahawk and a peace pipe criss-crossed beneath the Indian. The back is plain with a decorative "repousse" floral border, and "sterling" clearly marked in the lower left (see image). It is 2 7/8" high  x 2" wide resembling and in the style of a match safe; probably manufactured by Unger Bros. of Newark, New Jersey, circa 1880, but difficult to observe all of the surfaces because of the frontal "notes" in permanent place. A note holder would have been used to write down reminders and/or notations by the user; the surfaces appear to be a celluloid type material. Condition is excellent with six notes intact; a very slight "crease" to the back side; hardly noticeable (see image). Appropriate Americana for the discerning collector with a Western Native American...

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...

This very unique still bank is a "must have" for the discerning still bank collector, in that it is made of bakelite, in addition to it having a fish theme; only a couple of other banks depict a fish. American and probably manufactured around circa 1930, (making it an Art Deco piece), this pre-war bank, though unmarked, is undoubtedly a bakelite product; that company having been formed in 1922, utilizing the discovery and patent of bakelite in 1907 and 1909 respectively. Art Deco collectors would find this piece highly decorative and "period" compatible. This fish bank is in excellent and all original condition. The bank is rare in and of itself, but another element that makes it particularly scarce is the fact that, other than the old "knife in the slot" there was no way to remove the coins once the bank was filled without smashing it apart and destroying it. Great gift for that February/March pisces birthday. Dimensions: 8 1/4" long x 5" high x 2 1/8" wide Note:I am a leading specialist in the field of vintage coin banks...

Signed on verso in pencil; Artist copyright stamp on verso Gelatin Silver Print Image: 19-3/8 x 15-1/2" inches, Paper: 20 x 16 inches

Pair of English Georgian brass-bound buckets, circa 1770. Buckets are well made, sturdy, and in excellent condition and completely original and intact. These handsome fine quality b...

SAPERE AUDE. Dare to be wise. Immanuel Kant’s directive is embodied in the work of David Ligare. For thirty-five years, Ligare has dedicated his work to ...

A pine scalloped hanging plate rack in original blue paint.

Fine quality American magazine rack (also known as a canterbury) exhibited at the Centennial Exhibition held in Philadelphia in 1876. Unusual to find an American example, as most are of English manufacture and quite ubiquitous. Of Charles Eastlake...

Danny Lyon (born 1942), is a self-taught American photographer and filmmaker. Born in Brooklyn, NY, he is also credited as an accomplished writer to accompany his photographs. He stu...

Humakura, 2023 Signed, titled, numbered and dated in ink on photographers label. Archival pigments on Kozo paper Image/Sheet: 12" x 8" Edition 4 of 10

Mt Fuji, 2023 Signed, titled, dated in ink on photographer's label. Archival pigments on Kozo paper Image/Paper: 22" x 16-1/2", Framed: 27-3/4" x 21-3/4" Editi...

"GENESIS is Sebastião Salgado’s love letter to the planet. It is the result of an epic eight-year expedition to rediscover the mountains, deserts, and oceans, the animals and peoples...

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 ...

Brice Marden Celadon Muse 2003 Two color etching / one color lithograph 22 x 30 inches; 56 x 76 cm Edition of 45 Signed, dated, and numbered in graphite (lower recto) Frame available...

Signed, titled, dated in ink on photographer's label. Archival Pigments on unwashed Kozo Paper 23 x 28 cm Edition 1 of 10

signed and number in pencil on verso

18th century walnut Queen Anne highboy with beautiful grain three drawers over four in upper case and one over three on base still retaining it's or...

Born in 1957 and trained in Paris's École Nationale Supérieure des Beaux-Arts, Ruiz's career has been a rich tapestry of artistic exploration and professional achievement. His format...

Lucian Freud After Constable's "Elm" 2003 Etching on Somerset Textured White paper 18 7/8 x 15 inches; 48 x 38 cm Edition of 46 Initialed and numbered in graphite (lower recto) Frame available upon request Published by Matthew Marks Gallery...

It is infrequent, to say the least, that a diagnosis of tuberculosis proves fortuitous, but that was the event, in 1921, that set Paul Starrett Sample on the road to becoming a professional artist. (The best source for an overview of Sample’s life and oeuvre remains Paul Sample: Painter of the American Scene, exhib. cat., [Hanover, New Hampshire: Hood Museum of Art, 1988] with a detailed and definitive chronology by Sample scholar, Paula F. Glick, and an essay by Robert L. McGrath. It is the source for this essay unless otherwise indicated.) Sample, born in Louisville, Kentucky, in 1896 to a construction engineer and his wife, spent his childhood moving with his family to the various locations that his father’s work took them. By 1911, the family had landed in Glencoe, Illinois, settling long enough for Paul to graduate from New Trier High School in 1916. Sample enrolled at Dartmouth College, in Hanover, New Hampshire, where his interests were anything but academic. His enthusiasms included the football and basketball teams, boxing, pledging at a fraternity, and learning to play the saxophone. After the United States entered World War I, Sample, to his family’s dismay, signed on for the Naval Reserve, leading directly to a hiatus from Dartmouth. In 1918 and 1919, Sample served in the U.S. Merchant Marine where he earned a third mate’s license and seriously contemplated life as a sailor. Acceding to parental pressure, he returned to Dartmouth, graduating in 1921. Sample’s undergraduate life revolved around sports and a jazz band he formed with his brother, Donald, two years younger and also a Dartmouth student. In November 1933, Sample summarized his life in a letter he wrote introducing himself to Frederick Newlin Price, founder of Ferargil Galleries, who would become his New York art dealer. The artist characterized his undergraduate years as spent “wasting my time intensively.” He told Price that that “I took an art appreciation course and slept thru it every day” (Ferargil Galleries Records, circa 1900–63, Archives of American Art, Smithsonian Institution, available on line). In 1920, Donald Sample contracted tuberculosis. He went for treatment to the world-famous Trudeau Sanitorium at Saranac Lake, in New York State’s Adirondack Mountains for the prescribed regimen of rest, healthful food, and fresh air. Visiting his brother in 1921, Paul also contracted the disease. Tuberculosis is highly contagious, and had no certain cure before the development of streptomycin in 1946. Even for patients who appeared to have recovered, there was a significant rate of recurrence. Thus, in his letter to Price, Sample avoided the stigma conjured by naming the disease, but wrote “I had a relapse with a bad lung and spent the next four years hospitalized in Saranac Lake.” The stringent physical restrictions imposed by adherence to “the cure” required Sample to cultivate an alternate set of interests. He read voraciously and, at the suggestion of his physician, contacted the husband of a fellow patient for instruction in art. That artist, then living in Saranac, was Jonas Lie (1880–1940), a prominent Norwegian-American painter and an associate academician at the National Academy of Design. Lie had gained renown for his dramatic 1913 series of paintings documenting the construction of the Panama Canal (The Metropolitan Museum of Art, New York; United States Military Academy, West Point, New York). Primarily a landscape artist, Lie had a particular affinity for scenes with water. His paintings, impressionistic, atmospheric, and brushy, never strayed from a realistic rendering of his subject. Sample regarded Lie as a mentor and retained a lifelong reverence for his teacher. Sample’s early paintings very much reflect Lie’s influence. ` In 1925, “cured,” Sample left Saranac Lake for what proved to be a brief stay in New York City, where his veteran’s benefits financed a commercial art course. The family, however, had moved to California, in the futile hope that the climate would benefit Donald. Sample joined them and after Donald’s death, remained in California, taking classes at the Otis Art Institute in Los Angeles. In Sample’s account to Price, “I couldn’t stomach the practice of painting a lot of High Sierras and desert flowers which seemed to be the only kind of pictures that were sold here so I got a job teaching drawing and painting at the art school of the University of Southern California.” Initially hired as a part-time instructor, Sample progressed to full-time status and ultimately, by the mid-1930s, to the post of Chairman of the Fine Art Department. Sample, however, did not want to wind up as a professor. “Teaching is all right in small doses,” he wrote, “but I have a horror of drifting into being a college professor and nothing more.” At the same time as he taught, Sample began to exhibit his work in a variety of venues at first locally, then nationally. Though he confessed himself “a terrible salesman,” and though occupied with continued learning and teaching, Sample was nonetheless, ambitious. In 1927, he wrote in his diary, “I am eventually going to be a painter and a damned good one. And what is more, I am going to make money at it” (as quoted by Glick, p. 15). In 1928, Sample felt sufficiently solvent to marry his long-time love, Sylvia Howland, who had also been a patient at Saranac Lake. The Howland family were rooted New Englanders and in summertime the Samples regularly traveled East for family reunion vacations. While the 1930s brought serious hardship to many artists, for Paul Sample it was a decade of success. Buttressed by the financial safety net of his teacher’s salary, he painted realist depictions of the American scene. While his work addressed depression-era conditions with a sympathetic eye, Sample avoided the anger and tinge of bitterness that characterized much contemporary realist art. Beginning in 1930, Sample began to exhibit regularly in juried exhibitions at important national venues, garnering prizes along the way. In 1930, Inner Harbor won an honorable mention in the Annual Exhibition of the Art Institute of Chicago. That same year Sample was also represented in a show at the Albright-Knox Gallery in Buffalo and at the Biennial Exhibition of the Corcoran Gallery of Art, Washington, D.C. In 1931, Dairy Ranch won the second Hallgarten Prize at the Annual Exhibition of the National Academy of Design, in New York. Sample also made his first appearances at the Carnegie Institute, Pittsburgh, and The Pennsylvania Academy of the Fine Arts, Philadelphia. In 1936, Miner’s Resting won the Temple Gold Medal at the Pennsylvania Academy’s Annual Exhibition. Always interested in watercolor, in 1936, Sample began to send works on paper to exhibitions at the Whitney Museum, New York. While participating in juried exhibitions, Sample also cultivated commercial possibilities. His first New York art dealer was the prestigious Macbeth Gallery in New York, which included his work in a November 1931 exhibition. In 1934, Sample joined the Ferargil Galleries in New York, after Fred Price arranged the sale of Sample’s Church Supper to the Michele and Donald D’Amour Museum of Fine Arts in Springfield, Massachusetts. In 1937, The Metropolitan Museum of Art purchased Sample’s Janitor’s Holiday from the annual exhibition of the National Academy of Design, a notable honor. As prestigious as this exhibition schedule may have been, by far Sample’s most visible presence in the 1930s and 1940s was the result of his relationship with Henry Luce’s burgeoning publishing empire, Time, Inc. Sample’s first contribution to a Luce publication appears to have been another San Pedro...

signed, titled and dated by artist in pencil on verso

Signed, titled, dated in ink on photographer's label. Archival pigments on Kozo paper Image: 23 5/8" x 16 3/4", Frame: 28 1/4" x 20 1/4" AP 3

signed and numbered in pencil on verso

Walnut Queen Anne highboy with lovely figured wood drawer fronts. Nicely scalloped aprons and cabriole legs terminating in trifid feet.

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...

Signed on recto Platinum Print Image - 16.25 x 12.25

Signed and dated (at lower right): 2011

Signed in pencil on verso; stamped with photographer's copyright stamp on verso Gelatin Silver Print Paper: 16" x 20", Mat: 20" x 24"

LESLEY DILL WHITE HINGED POEM DRESS (#3), 1993 mixed media paper construction Framed: 22 1/2 x 17 1/2 in Edition of 20 signed, dated and numbered 12...

Karsh is a master 20th Century photographer. Karsh is known for his portraits of authors, scientists, artists, statesmen, musicians, and other dis...

Sakura Bloom, 2024 Signed, titled, dated and numbered in ink on artist label Archival pigments on Kozo paper Image/Paper: 11-3/4" x 7-3/4", Framed: 16-1/4" x 12" Edition 2 of 10

Signed, titled, dated and numbered in pencil on verso Gelatin silver print Image: 12-5/8" x 19", Paper: 13-5/8" x 20", Matted: 20" x 24" AP 1/3