Art Dealers Association of America

Michael O’Keefe’s sculptures, drawings, and paintings depict figurative narratives born from unpredictable processes. He couples innovative methods with unconventional tools to creat...

Lane Timothy was born and raised in the small town of Missoula, Montana where at a very young age he discovered a love of art. Lane sold his first paintin...

Listing includes free shipping in the US and Europe, framing with UV plexi and a 14-day return policy. Equivalent to a ~$550 or 10% discount. Ships from our New York gallery. Christopher Anderson...

Valerie B Hird NEW MEDIA, 2020 wood, screws, foamcore, paper, watercolor, ink, electrical wire, LEDs, batteries 28 x 14 x 6 1/2 in. 71.1 x 35.6 x 16.5 cm. When the handle is tur...

Artist Reproduction plate. Edition 1401A Reihe "Gustav Klimt – Phantastische Meisterwerke" mit einem diagonalen Durchmesser von 22 cm und einer Goldumrandung an. Es handelt sich dabei um die Ausgabe "...." aus dem Jahr 1990, Teller-Nr. ?, die als Reproduktion im Auftrag des Hauses Lilien Porzellan...

**Framing Included in Listing Price, Free Shipping, and 14-Day Return Policy** Rowan Brook 3 (2013) by Susan Derges. 30 x 19 inches Digital C-Print Edition 4 of 9 Framing is a d...

Signed (at lower right): MOORE

Framing Included in Listing Price, Free Shipping for the US, 14-Day Return Policy. One 4.5 x 3.25 inch unique vintage Kodak print of Karl Lagerfeld by Antonio Lopez. Prints are on ...

Listing includes framing, free shipping in the US, and 14-day return policy. Two 4.5 x 3.25 inch unique vintage Kodak prints of Grace Coddington by Antonio Lopez. 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...

French photographer Denis Darzacq chose HYPER supermarkets in Paris and Rouen as the setting for this series. There, brightly packaged and presented consumer goods provided a vivid a...

Listings includes framing, free shipping in the US, and a 14-day return policy. Two 4.5 x 3.25 inch unique vintage Kodak prints of Jerry Hall by Antonio L...

French photographer Denis Darzacq chose HYPER supermarkets in Paris and Rouen as the setting for this series. There, brightly packaged and presented consumer goods provided a vivid a...

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...

JOAN NELSON UNTITLED, 1984 egg tempera on masonite 24 x 18 in. 61 x 45.7 cm. signed and dated on verso landscape castle

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 Christopher Anderson...

Walking down a forgotten country lane, littered with stones and broken limbs, carpeted with the new growth of spring, I am exhilarated by warm days and the end of a long winter. I’m ...

Lauded by critics and collectors alike, the art of Gary Ernest Smith resonates in the mind and memory of contemporary America. Over the past years the artist’s one-man shows have att...

HEATHER HUTCHISON DANCE WHEN YOU ARE PERFECTLY FREE, 1996 beeswax, plexiglass, pigment and wood 48 x 55 x 2 in. 121.8 x 139.8 cm. signed, dated and numbered on verso semi-translucent

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

Free shipping for the continental U.S. and a 14-day return policy. Jim Krantz Epic Western No. 35 40 x 68 inch chromogenic print Edition 2 of 5 Signed on adhesive signature label 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...

From the time he was four years old Max Hammond was destined to paint, as he began on the walls of his home, a budding muralist. As he ran along the edges of the salt marshes of the ...

Signed and dated (at lower right): Randall Exon 2018

large abstract oil painting on canvas green orange brown

Edition 5 of 7. Signed on signature label. Produced by Jim Krantz. 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 from Marlboro ads, and in something of an ironic compliment, when Prince had his mid-career retrospective at the Guggenheim Museum not only were Krantz’s re-photographed images included in the exhibit but the image on all the banners flying along 5th Avenue was also one of Krantz’s. All uncredited. Krantz’s art has been embraced by the worlds of fashion and popular culture with collaborations with Supreme, Adam Kimmel...

Abstract lithograph in an edition of 85

Otis Huband begins his work with no preconceived ideas, but rather to discover what will reveal itself. He states, "I work from the inside out rather than from the outside in. I do n...

Lauded by critics and collectors alike, the art of Gary Ernest Smith resonates in the mind and memory of contemporary America. Over the past years the artist’s one-man shows have att...

Signed and dated (at lower right): Randall Exon 2016

Singed (at lower left): Jane Peterson

A contemporary figurative painter whose art is rooted in both the past and the present, Alan Feltus specializes in enigmatic depictions of women. Notable for their purity and simplic...

Rebecca Warren 1990 2007 Lithographic print on MDF, with pom-pom, cotton thread, wood shaving, twig, and wood chip 16 x 9 x 3 inches; 41 x 23 x 8 cm Edi...

Lauded by critics and collectors alike, the art of Gary Ernest Smith resonates in the mind and memory of contemporary America. Over the past years the artist’s one-man shows have att...

Lauded by critics and collectors alike, the art of Gary Ernest Smith resonates in the mind and memory of contemporary America. Over the past years the artist’s one-man shows have att...

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

multi color silscreen on paper, edition of 144 abstracted landscape with trees

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

Signed and dated (at lower right): L; (on verso): D. Ligare / 2014

Signed and dated (at lower left): J. STONE ROBERTS. /2019/20.

Otis Huband begins his work with no preconceived ideas, but rather to discover what will reveal itself. He states, "I work from the inside out rather than from the outside in. I do n...

William Mason Brown was born in Troy, New York, where he studied for several years with local artists, including the leading portraitist there, Abel Buel Moore. In 1850, he moved to ...

Peregrine Heathcote’s paintings conjure a world of intoxicating glamour and intrigue, slipping across the boundaries of time to fuse iconic pre-war design with modern conceptions of ...

Signed and dated (on verso): Angela Fraleigh 2021

VALERIE HIRD FLIGHT, 2020 watercolor, Arches paper 23 x 46 in. 58.4 x 116.8 cm. mythology

Signed and dated (on verso): Angela Fraleigh 2021

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...

Jim Richard (born 1943, Port Arthur, TX) received a BFA from Lamar State College of Technology, Beaumont, TX (1965) and an MFA from the University of Colorado (1968). He has exhibite...

Signed and dated (on verso): Angela Fraleigh 2021

Signed (at lower right): John Ross Key 1882

from the exhibition: SURVIVING THE PANDEMIC, Nohra Haime Gallery 2020 satirical self-portrait

"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 ...

from the exhibition: SURVIVING THE PANDEMIC, Nohra Haime Gallery 2020 satirical self-portrait

Jim Richard (born 1943, Port Arthur, TX) received a BFA from Lamar State College of Technology, Beaumont, TX (1965) and an MFA from the University of Colorado (1968). He has exhibite...

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...

c. 44 x 55 inch archival pigment print. Edition of 15 (includes several different sizes - please inquire). Signed, titled, dated and editioned on frame label provided. Shipping cost...

Signed (at lower right): A. WEISKOPF

from the exhibition: SURVIVING THE PANDEMIC, Nohra Haime Gallery 2020 satirical self-portrait

Harry Humphrey Moore led a cosmopolitan lifestyle, dividing his time between Europe, New York City, and California. This globe-trotting painter was also active in Morocco, and most importantly, he was among the first generation of American artists to live and work in Japan, where he depicted temples, tombs, gardens, merchants, children, and Geisha girls. Praised by fellow painters such as Thomas Eakins, John Singer Sargent, and Jean-Léon Gérôme, Moore’s fame was attributed to his exotic subject matter, as well as to the “brilliant coloring, delicate brush work [sic] and the always present depth of feeling” that characterized his work (Eugene A. Hajdel, Harry H. Moore, American 19th Century: Collection of Information on Harry Humphrey Moore, 19th Century Artist, Based on His Scrap Book and Other Data [Jersey City, New Jersey: privately published, 1950], p. 8). Born in New York City, Moore was the son of Captain George Humphrey, an affluent shipbuilder, and a descendant of the English painter, Ozias Humphrey (1742–1810). He became deaf at age three, and later went to special schools where he learned lip-reading and sign language. After developing an interest in art as a young boy, Moore studied painting with the portraitist Samuel Waugh in Philadelphia, where he met and became friendly with Eakins. He also received instruction from the painter Louis Bail in New Haven, Connecticut. In 1864, Moore attended classes at the Mark Hopkins Institute in San Francisco, and until 1907, he would visit the “City by the Bay” regularly. In 1865, Moore went to Europe, spending time in Munich before traveling to Paris, where, in October 1866, he resumed his formal training in Gérôme’s atelier, drawing inspiration from his teacher’s emphasis on authentic detail and his taste for picturesque genre subjects. There, Moore worked alongside Eakins, who had mastered sign language in order to communicate with his friend. In March 1867, Moore enrolled at the prestigious École des Beaux-Arts, honing his drawing skills under the tutelage of Adolphe Yvon, among other leading French painters. In December 1869, Moore traveled around Spain with Eakins and the Philadelphia engraver, William Sartain. In 1870, he went to Madrid, where he met the Spanish painters Mariano Fortuny and Martin Rico y Ortega. When Eakins and Sartain returned to Paris, Moore remained in Spain, painting depictions of Moorish life in cities such as Segovia and Granada and fraternizing with upper-crust society. In 1872, he married Isabella de Cistue, the well-connected daughter of Colonel Cistue of Saragossa, who was related to the Queen of Spain. For the next two-and-a-half years, the couple lived in Morocco, where Moore painted portraits, interiors, and streetscapes, often accompanied by an armed guard (courtesy of the Grand Sharif) when painting outdoors. (For this aspect of Moore’s oeuvre, see Gerald M. Ackerman, American Orientalists [Courbevoie, France: ACR Édition, 1994], pp. 135–39.) In 1873, he went to Rome, spending two years studying with Fortuny, whose lively technique, bright palette, and penchant for small-format genre scenes made a lasting impression on him. By this point in his career, Moore had emerged as a “rapid workman” who could “finish a picture of given size and containing a given subject quicker than most painters whose style is more simple and less exacting” (New York Times, as quoted in Hajdel, p. 23). In 1874, Moore settled in New York City, maintaining a studio on East 14th Street, where he would remain until 1880. During these years, he participated intermittently in the annuals of the National Academy of Design in New York and the Pennsylvania Academy of the Fine Arts in Philadelphia, exhibiting Moorish subjects and views of Spain. A well-known figure in Bay Area art circles, Moore had a one-man show at the Snow & May Gallery in San Francisco in 1877, and a solo exhibition at the Bohemian Club, also in San Francisco, in 1880. Indeed, Moore fraternized with many members of the city’s cultural elite, including Katherine Birdsall Johnson (1834–1893), a philanthropist and art collector who owned The Captive (current location unknown), one of his Orientalist subjects. (Johnson’s ownership of The Captive was reported in L. K., “A Popular Paris Artist,” New York Times, July 23, 1893.) According to one contemporary account, Johnson invited Moore and his wife to accompany her on a trip to Japan in 1880 and they readily accepted. (For Johnson’s connection to Moore’s visit to Japan, see Emma Willard and Her Pupils; or, Fifty Years of Troy Female Seminary [New York: Mrs. Russell Sage, 1898]. Johnson’s bond with the Moores was obviously strong, evidenced by the fact that she left them $25,000.00 in her will, which was published in the San Francisco Call on December 10, 1893.) That Moore would be receptive to making the arduous voyage across the Pacific is understandable in view of his penchant for foreign motifs. Having opened its doors to trade with the West in 1854, and in the wake of Japan’s presence at the Philadelphia Centennial Exposition of 1876, American artists were becoming increasingly fascinated by what one commentator referred to as that “ideal dreamland of the poet” (L. K., “A Popular Paris Artist”). Moore, who was in Japan during 1880–81, became one of the first American artists to travel to the “land of the rising sun,” preceded only by the illustrator, William Heime, who went there in 1851 in conjunction with the Japanese expedition of Commodore Matthew C. Perry; Edward Kern, a topographical artist and explorer who mapped the Japanese coast in 1855; and the Boston landscapist, Winckleworth Allan Gay, a resident of Japan from 1877 to 1880. More specifically, as William H. Gerdts has pointed out, Moore was the “first American painter to seriously address the appearance and mores of the Japanese people” (William H. Gerdts, American Artists in Japan, 1859–1925, exhib. cat. [New York: Hollis Taggart Galleries, 1996], p. 5). During his sojourn in Japan, Moore spent time in Tokyo, Yokohama, Kyoto, Nikko, and Osaka, carefully observing the local citizenry, their manners and mode of dress, and the country’s distinctive architecture. Working on easily portable wood panels, he created about sixty scenes of daily life, among them this picturesque vignette of a Japanese tea garden...

Walking down a forgotten country lane, littered with stones and broken limbs, carpeted with the new growth of spring, I am exhilarated by warm days and the end of a long winter. I’m ...