Adaa Art Dealers Association Of America

Ed Templeton grew up and lives in Huntington Beach. While Templeton originally gained fame as a professional skateboarder, he is now recognized as a semin...

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...

Beth Secor Sparrow, 2016 gouache, pencil and ink on paper 24-3/4 x 24-3/4 inches

NEIL LEIFER’s photography career has spanned over 50 years since becoming a professional while still in his teens. Beginning in 1960, his pictures regularly appeared in every major national magazine, including the Saturday Evening Post, Look, LIFE, Newsweek, Time and, most often, Sports Illustrated. Leifer eventually became a staff photographer for Sports Illustrated before leaving in 1978 to become a staffer for Time magazine. In 1988 he was made a contributing photographer at LIFE magazine and spent the next two years dividing his time between Time and LIFE. When Leifer left Time Inc. in 1990, his photographs had appeared on over 200 Sports Illustrated, Time, and People covers—at that point, the most ever published of one photographer’s work in Time Inc. history. Neil Leifer is the 2006 recipient of the prestigious Lucie Award for Achievement in Sports Photography. In 2008 he was honored for his outstanding contribution to Time Inc. journalism with The Britton Hadden Lifetime Achievement Award. Leifer has published 16 books, 9 of which have been collections of his sports photographs. Sports, his 1978 Abrams book, is considered by many to be the quintessential sports photography book. His two most recent, Ballet in the Dirt and Guts and Glory—both published by TASCHEN, showcase the very best of Leifer’s professional baseball and football photographs...

Delightful child's sized Pennsylvania high chest in red paint. Three over two over four drawer arrangement and resting on bracket feet, circa 1800. Tulip...

Valley House Gallery presented our first exhibition for Houston artist Otis Huband in the summer of 2014. After a hiatus of over 20 years from regular exhibitions, his work was re-in...

Signed and dated (at lower right): Randall Exon 2012

Charles Houghton Howard was born in Montclair, New Jersey, the third of five children in a cultured and educated family with roots going back to the Massachusetts Bay colony. His father, John Galen Howard, was an architect who had trained at M.I.T. and the École des Beaux-Arts in Paris and apprenticed in Boston with Henry Hobson Richardson. In New York, the elder Howard worked for McKim, Mead and White before establishing a successful private practice. Mary Robertson Bradbury Howard, Charles’s mother, had studied art before her marriage. John Galen Howard moved his household to California in 1902 to assume the position of supervising architect of the new University of California campus at Berkeley and to serve as Professor of Architecture and the first Dean of the School of Architecture (established in 1903). The four Howard boys grew up to be artists and all married artists, leaving a combined family legacy of art making in the San Francisco Bay area that endures to this day, most notably in design, murals, and reliefs at the Coit Tower and in buildings on the Berkeley campus. Charles Howard graduated from the University of California at Berkeley in 1921 as a journalism major and pursued graduate studies in English at Harvard and Columbia Universities before embarking on a two-year trip to Europe. Howard went to Europe as a would-be writer. But a near-religious experience, seeing a picture by Giorgione in a remote town outside of Venice, proved a life-altering epiphany. In his own words, “I cut the tour at once and hurried immediately back to Paris, to begin painting. I have been painting whenever I could ever since” (Charles Howard, “What Concerns Me,” Magazine of Art 39 [February 1946], p. 63). Giorgione’s achievement, in utilizing a structured and rational visual language of art to convey high emotion on canvas, instantly convinced Howard that painting, and not literature, offered the best vehicle to express what he wanted to say. Howard returned to the United States in 1925, confirmed in his intent to become an artist. Howard settled in New York and supported himself as a painter in the decorating workshop of Louis Bouché and Rudolph Guertler, where he specialized in mural painting. Devoting spare time to his own work, he lived in Greenwich Village and immersed himself in the downtown avant-garde cultural milieu. The late 1920s and early 1930s were the years of Howard’s art apprenticeship. He never pursued formal art instruction, but his keen eye, depth of feeling, and intense commitment to the process of art making, allowed him to assimilate elements of painting intuitively from the wide variety of art that interested him. He found inspiration in the modernist movements of the day, both for their adherence to abstract formal qualities and for the cosmopolitan, international nature of the movements themselves. Influenced deeply by Surrealism, Howard was part of a group of American and European Surrealists clustered around Julien Levy. Levy opened his eponymously-named gallery in 1931, and rose to fame in January 1932, when he organized and hosted Surrealisme, the first ever exhibition of Surrealism in America, which included one work by Howard. Levy remained the preeminent force in advocating for Surrealism in America until he closed his gallery in 1949. Howard’s association with Levy in the early 1930s confirms the artist’s place among the avant-garde community in New York at that time. In 1933, Howard left New York for London. It is likely that among the factors that led to the move were Howard’s desire to be a part of an international art community, as well as his marriage to English artist, Madge Knight...

Francesca Woodman in Providence, Rhode Island (1976) photographed by George Lange. 14 x 11" archival pigment print 21 x 17 x 2" frame with UV plexgias Edition 2 of 10, signed and e...

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...

Listing includes framing with UV Plexi, Free shipping, and a 14 day return policy. Also available for local pick up in New York City. The Search for Sattva, Ahhichatragarh Fort (2014) by Karen Knorr 24 x 30 inches (27 x 33 inches framed) Archival pigment print Edition 2 of 5 Signed on artist certificate and acquired directly from the artist. Karen Knorr Artist Biography While Knorr’s images take some of their inspiration from the Indian tradition of personifying animals in literature and art, there is another almost subconscious strain to her work. Going back to the time of cave painting we see that these early visual artists not only recorded their lives and surroundings, but used art to express themselves. The depiction of animals in symbolic and powerful ways and the urge to create these images with the best tools at hand is a line stretching from these unnamed cave painters to Karen Knorr. Playfully combining technologies and genres, Knorr mixes digital...

Francesca Fuchs Duck and Dolphin, 2018 acrylic on canvas over board 30 x 41 1/2 in (76.2 x 105.4 cm) This work is part of a series currently on view...

From the series Blaze

Center Table, about 1818–20 Attributed to Thomas Seymour (1771–1848), working either for James Barker or for Isaac Vose & Son, with Thomas Wightman (1759...

Human and Animal Locomotion. Plate 631. Gallop; saddle; thoroughbred bay horse Bouquet 14 x 20 inch original vintage collotype print from 1887 Image size 7 x 16 inches Muybridge copy...

Joseph Lorusso was born in Chicago, Illinois, in 1966, and received his formal training at the American Academy of Art. He went on to receive his B.F.A. degree from the Kansas City Art Institute. While in school, Lorusso majored in watercolor and considers himself self-taught as an oil painter. He learned to paint by studying the works of master painters, often losing himself in the halls of the Chicago Art Institute during lunch hours...

Dana Frankfort In the middle of the road, 2017 oil on canvas over panel 48 x 48 x 1.75 inches For over two decades, Dana Frankfort has explored the vexing periphery between language and sight by painting words. Rather than laying claim to the paintings, controlling their semiotic pulse, her words serve as the formal armature; they prop up, ventilate, and allow the many layers of paint to breathe. Imperatives, allusions, evocations—the words dissolve into a palimpsest of obscured serifs and stems, into color and form. The title of the work is a phrase from a poem by Carlos Drummond de Andrade’s “In the Middle of Road.” Here it is, translated from the Portuguese by Elizabeth Bishop...

Anodized aluminum (green)

Jim Richard That Yard, 2017 Flashe on canvas 42 x 56 in (106.7 x 142.2 cm) This work is on view as part of the exhibition "I Know a Place", through July 7, 2018 For his fourth sol...

signed by artist

Listing includes free shipping for unframed prints in the continental U.S. and a 14 day return policy. Jim Krantz Epic Western No. 38, 2020 40 x 60 inch chromogenic print Edition 5 of 7 Krantz occupies a unique place in the history of contemporary art for his imagery blending western landscape photography with the figure of the cowboy as depicted and romanticized in American popular culture. The technical underpinning of his work was established when he studied with Ansel Adams and Paul Caponigro, but perhaps more importantly, Krantz’s work reflects a dictum that he learned from Adams: “Technical proficiency leads to artistic freedom.” His range and versatility are his forte, working with ease in demanding and ever-changing conditions. If Krantz’s work looks familiar, it is not surprising. Krantz, had been documenting the cinematic vistas of the American West for 20 years on commercial assignments and these much published images caught the eye of appropriation artist, Richard Prince, known for re-photographing advertisements and presenting the resulting images in a new “conceptual” context. Prince’s most famous series is his large scale reproductions of the cowboy images...

Anodized aluminum (gold)

From the series Falling Bird

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 panels, he created about sixty scenes of daily life, among them this sparkling portrayal of a young woman dressed in a traditional kimono and carrying a baby on her back, a paper parasol...

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

14 x 11 inch gelatin silver print. Edition 15. Signed on verso. Kazuo Sumida first visited New York in 1995. He found the city to be one of “both bustle and silence,” particularly the underground world of the subway, where he encountered “a place full of characters.” By 2002, he had produced a large body of work of images taken in this subterranean metropolis – tender scenes of lovers and children; gritty portraits of beggars for whom the subway is home; artists, musicians, commuters, and others who pass through the tunnels on their daily journeys. The resulting monograph, A Story of the New York Subway, was published in 2002. Sumida was born in 1952 in Kochi Prefecture in southern Japan. Although photography was not his formal career, Sumida has pursued the art throughout his life. He graduated from Osaka Photography Graduate School in 1983, and also studied at the International Center of Photography in New York, on a fellowship from the Japanese Agency for Cultural Affairs. He lives in Japan, and continues to visit New York frequently. His work has been shown at the Tokyo Ginza Kodak Photo...

Alex Katz uses outline drawings, called “cartoons”, as templates to transfer full size images onto the canvas prior to painting. Rendered in red chal...

Robert Cottingham's Rolling Stock series is a significant part of his artistic portfolio, focusing on railroad imagery. The series features hand-colored etchings, collographs, and mo...

Vintage Hand Colored Albumen print

Francis Chapin was one of the most celebrated painters in Chicago during his lifetime. When he was a young art student, Valley House founder, Donald Vogel, painted with "Chape" on th...

Jennifer Bartlett Graceland Mansions, 1978-79 Drypoint, aquatint, silkscreen, woodcut, and lithograph on J. Green Cold Press paper and Rives BFK paper 24 x 120 inches, unframed Ed...

Jasper Johns Untitled 2010 Intaglio on Revere Standard White 19 x 21 1/2 inches 48 x 55 cm Edition of 50 Signed, dated, and numbered in graphite (lower recto) Frame available upon request Available from Matthew Marks Gallery...

Joan Didion photographed by Julian Wasser for TIME magazine in 1968. This is a 20 x 24 inch platinum print made in 2022 at Weldon Labs in Los An...

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. 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. Artist 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 Chow...

Stone’s luminous still lifes, private interiors, and large-scale panoramas of figures in motion invite us to look—and then look some more—and relish in the sensuality of the three di...

2015, pigment print, mounted: 30 x 24 inches, edition of 7 Edition of 7 "Figured Base" is part of Wegman's artistic exploration of photography and staged scenes. The artwork is rep...

Beautiful semi-nude woman with translucent negligee, holding a bottle of "Brookfield Rye" whiskey is the focal point of this chromolithographic tin advertising sign, used to promote ...

Signed and dated (at lower right): L; (on verso): D. Ligare / 2018

15 x 15 archival pigment print, edition 8. Signed, titled, dated and editioned on frame label provided. In this latest body of work, Simone Rosenbauer continues her series "Like Ice...

Thomas Fransioli, born in 1906 in Seattle, Washington, trained as an architect at the University of Pennsylvania. He worked as an architect before his service in World War II. Largel...

Oil on canvas

New York, Fan-carved mantel in the Federal taste, circa 1812 Pine Measures: 66 1/4 in. high, 90 3/8 in. wide, 13 1/4 in. deep Within the genre of carved rather than plasterwork mantels of the Federal Period, no example that has come to light is more perfectly designed or more carefully wrought than the present one, which is an amazing symphony of fans, urns, beads, and other Neo-Classical devices, all ultimately influenced by the plasterwork designs of the English architects Robert (1728–1792) and James (1732–1794) Adam. Of a type that proliferated in the area bounded by the northern New Jersey counties of Bergen and Passaic, the Hudson Valley, and western Long Island, the mantel is representative of work that flourished in the first couple of decades of the 19th century. While most of the woodwork of this style that has survived is found in interiors, various examples of exterior doors and other trim have been noted, but most examples have disappeared as a result, variously, of natural deterioration and purposeful demolition in anticipation of development. Although considerably larger in scale and more elaborate in ornament than a mantel that has been in the collection of the Brooklyn Museum since 1944 (acc. no. 44.55; photograph in Hirschl & Adler archives), the present mantel is so close in style and conception to that example that it likely originated in the same house. The Brooklyn mantel is documented as having been removed from a house built by Judge Isaac Terhune (1762–1837), an eminent lawyer and judge. The house was situated on King’s Highway, at the corner of Mansfield Place, at the edge of South Greenfield, a village in northern Gravesend, Brooklyn. A photograph of the house, taken by the German e´migre´ photographer, Eugene Armbruster (1865–1933), is in the collection of the New-York Historical Society. Terhune is ultimately descended from the Dutch-Huguenot e´migre´ Albert Albertson Terhunen, who died in Flatlands, Brooklyn, in 1685.The family eventually spread out through New Amsterdam, Long Island, and Bergen County, New Jersey. Terhune’s great-grandson, also Albert (1715–1806), left a sizable estate to his six surviving children, including his second child and second son, Isaac. Judge Terhune lived in the house until his death in 1837, at which time, according to an article in The New York Times for November 27, 1910, he, having died without issue, “left the White Frame Mansion with its exquisitely carved doorway, beautiful mantels, and other interior adornments to his brother John” (Part Six, p. 11). The article continues: After the latter’s death, the house and its estate of about 70 acres passed through several owners, eventually being purchased in 1853 by Benjamin G. Hitchings [1813–1893]. The house next passed to Benjamin’s son, Hector, who had been born in the house, and then lived there for 25 years. He sold it in 1910 in partial payment for a Manhattan apartment house. After thus having been sold to a real estate developer, the Hitchings property was subdivided into Hitchings Homestead. The house survived until about 1928, at which time it was razed and a Deco-style apartment house with the address 2301 Kings Highway was constructed on the site and occupied in 1935. By 1910, the fate of the house, in an area of Brooklyn that was being rapidly developed, was becoming obvious. The Times article reported: The house has been well kept up, but fearing lest the hand of time or vandals might deal harshly with some of its choice bits of carving, Mr. Hitchings removed a few years ago a few beautifully carved wood mantels...

Excellent Philadelphia mahogany Chippendale tea table with dish top suppressed ball pedestal acanthus carved legs and terminating in claw and bal...

“Anne Weary, who grew up as a Texas cowgirl, is at home in the outdoors and knows its ways and its language. There is a sort of very quiet but very powerful mysticism in her work, a sense of presence that goes quite beyond words,” writes poet and University of Texas at Dallas professor Frederick Turner in the American Arts Quarterly. Dallas born Weary studied under Olin Travis, Octavio Medellin and Chapman Kelley before earning a 4 year certificate from the Pennsylvania Academy of Fine Arts with awards for excellence in drawing. In 2008, Weary left Texas for a three year sabbatical in Southern California where she began drawing in Torrey Pines...

This maple side chair is attributed to William Savery. It has a cupid’s bow crest, spooned back with solid splat, rush seat, aprons and cabriole front legs terminating in “crook’t” f...

Human and Animal Locomotion. Plate 646. Jumping a hurdle; saddle; rider, 105, nude; gray mare Pandora 14 x 20 inch original vintage collotype print from 1887 Image size 6 1/2 x 17 in...

The sculpture is painted cast plaster. The dimensions are for the painted cast plaster. The black base dimensions are 2 x 10 x 10 inches. About this body of work: “Everybody has that feeling when they look at a work of art and it’s right, that sudden familiarity, a sort of...recognition, as though they were creating it themselves, as though it were being created through them while they look at it or listen to it...” ―William Gaddis, "The Recognitions" “A great deal of my recent work was made during a time when I was reading the great American novel by William Gaddis, "The Recognitions," the most demanding book I’ve ever read. Along the way, I extracted sentence fragments that interested me and I pieced them together to make the titles for the last three years of my work. So, my recent work is linked to Gaddis’ novel through the titles, but also in the theme of “recognition,” which speaks to the nature of my work. I feel my way through various processes until I recognize a possibility―a possibility that is promising in terms of visual dynamics but also in terms of giving a body to some part of my experience. It is my hope that the viewer is compelled to recognize some part of themselves reflected in the work.” —Michael O’Keefe Michael O’Keefe earned his MFA from SMU and currently teaches at The O’Keefe Studio Center in Richardson, Texas. This sculpture was included in "Recognitions," his fifth solo exhibition at Valley House...

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 Tod Papageorge...

Louisa Lizbeth Chase was born in 1951 to Benjamin and Wilda Stengel Chase in Panama City, Panama, where her father, a West Point graduate, was stationed. The family moved to Pennsylv...

Francesca Woodman in Providence, Rhode Island (1976) photographed by George Lange. 11 x 14" archival pigment print 17 x 21 x 2" frame with UV plexgias Edition 2 of 10, signed and e...

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 Nippon (which means, “The Land of the Rising Sun”), Moore spent time in locales such as 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 panels, he created about sixty scenes of daily life, among them this depiction of an interior of a dwelling. The location of the view is unknown, but the presence of a rustic rail fence demarcating a yard bordering a distant house flanked by tall trees, shrubs and some blossoming fruit trees, suggests that the work likely portrays a building in a city suburb or a small village. In his book, Japanese Homes and Their Surroundings, Edward S. Morse (an American zoologist, orientalist, and “japanophile” who taught at Tokyo Imperial University from 1877 to 1879, and visited Japan again in 1891 and 1882) noted the “openness and accessibility of the Japanese house...

In all original clothing and condition, this very rare Authentic "Punch" looking figural, of American manufacture, would have been atop a popcorn maker o...

Oil on Canvas

Amy Weiskopf was born in Chicago in 1957, and received her M.F.A. from the Tyler School of Art, Temple University, PA. Though Weiskopf is a master of the still life genre, her painti...

American (glass attributed to Boston and Sandwich Glass Company, Sandwich, Massachusetts), circa 1830-1840. Glass, blown, partially frosted, and wheel cut, with cast and die-rolled brass, patinated. This hanging lamp is typical of the production of such lanterns by the Boston & Sandwich Glass Company of Sandwich, Massachusetts, during the 1830s, and perhaps as late as the early 1840s. The present example is an unusually elaborate specimen with its overall frosting and cutting. In their The Glass Industry in Sandwich, II (1989), Raymond E. Barlow and Joan E. Kaiser quote Boston & Sandwich Glass Company manager Deming Jarves on the fabrication of lamps of this general type (p. 225 no. 2398). These hanging lanterns could be supplied with a candle or with a peg lamp...

Oil on canvas

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

John Moore was born in St. Louis, MO in 1941. He received a BFA from Washington University in St. Louis (1966) and an MFA from Yale University (1968). Over a career spanning forty ye...

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...

Signed (at lower right): MOORE