Art Dealers Association of America

Oil on canvas, 14 x 12 in.

hand colored photograph of green apples. Still-Life. framed in wood with gold leaf corners.

Lloyd Goff studied at the Art Students League, and has work in the collections of the Smithsonian American Art Museum, Whitney Museum of American Art, and T...

Signed (at lower right): John Ross Key 1882

Unframed

What do you do when, as a photographer, you are told your image archive is so precious that it's uninsurable? The answer for Jacques Lowe, whose images helped create the legend of Jo...

Brooke Stroud Campo, 2018-2020 Acrylic paint, oil pastel, and aerosol paint on panel 16 x 20 inches

I am inspired by Andy Warhol, who taught us through his silk-screened images of Campbell Soup cans back in 1962 that objects of our popular culture cab be interpreted as “art” if we ...

Signed and dated (on verso): Robert Minervini 2019

Signed, dated, titled and numbered in pencil on verso.

From the series Dark Days & Transparent Things. Three prints each 100 x 80 cm, 39 3/8 x 31 1/2 inches. Overall 100 x 240 cm, 39 3/8 x 94 1/2 inches

Randall Exon (b. 1956) was born in Vermillion, South Dakota. Exon earned his B.F.A. in painting from Washburn University in Topeka, Kansas, and an M.F.A. at the University of Iowa. I...

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...

4 x 5 inch contact print, on 8 x 10 inch sheet, edition 10 Cover image of the book "Tohshio Shibata: For Grey" Toshio Shibata is one of Japan's leading landscape photographers. B...

Signed (on verso): Robert Minervini / 2019 / 2 Vases

What do you do when, as a photographer, you are told your image archive is so precious that it's uninsurable? The answer for Jacques Lowe, whose images helped create the legend of Jo...

A 16 x 20 inch gelatin silver print, with image size of 12 x 17.75 inches. Printed in 2004. "Larry Burrows Collection" and copyright stamps on verso. Larry Burrows career as a LIFE ...

Linarejos Moreno Art Forms in Mechanism XVll, 2016 archival digital print on Baryta paper, ed. 1/3 75-5/8 x 51-1/4 inches paper size The series “Art Forms in Mechanism” began when Linarejos Moreno discovered a collection of 19th century botanical models while researching at the Cabinet of Scientific...

Vintage Hand Colored Albumen print

Suite of 5 drawings Charcoal and Getty Fire Ash on paper, 24 x 18 in. (each)

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...

Pair of drawings Charcoal and Getty Fire Ash on paper, 24 x 18 in. (each)

In Anastasia Samoylova's "Breakfast With" series, photo books are splayed open and the iconic images therein mingle with the first meal of the day, reading as affectionate homages to...

lambda print mounted on plexi Edition of 3 Still-life of glass objects

Signed, titled and dated in pencil on verso

“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 ...

Gary Stephan Untitled, 1990 Oil and acrylic paint on linen 18 x 14 inches

The result of twelve trips over three years, Moore’s work in the American South uses historic homes, both grand and modest, the preserved backroom of a Jewish social club, the curta...

James Turrell Corrected RC Site Plan, 1988/92 Ink on printed paper 35 x 45

Peter Fischli / David Weiss Untitled (Airport Paris) 2008 Offset lithograph on three sheets Each sheet: 51 1/4 x 32 5/8 inches; 130 x 83 cm Edition of 100 Signed and numbered in ink ...

The result of twelve trips over three years, Moore’s work in the American South uses historic homes, both grand and modest, the preserved backroom of a Jewish social club, the curta...

charcoal drawing of a group of friends telling jokes on canvas.

In Anastasia Samoylova's "Breakfast With" series, photo books are splayed open and the iconic images therein mingle with the first meal of the day, reading as affectionate homages to...

In Anastasia Samoylova's "Breakfast With" series, photo books are splayed open and the iconic images therein mingle with the first meal of the day, reading as affectionate homages to...

From Sharon Core's series Oldenburgs, which playfully explores the sculptural work of Claes Oldenburg.

This is a unique bronze container. The figure has always been Deborah Ballard’s muse in her sculptures. Ballard works in bronze, cast stone, and plaster; her figures ranging from li...

In his "Absence" series, Denis Darzacq’s mines his own work for raw material. By cutting and tearing recent photographic prints of his own work, he generated a wealth of formal mater...

Philip Guston was born in 1913 in Montreal, Canada. He began painting at the age of 12, and in 1927 he enrolled in the Los Angeles Manual Arts High School , where both he and Jackson...

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...

From the series Floating World

John Schieffer's thoughts on his work: I often paint shiny objects like glass, metal, and water. I am kind of like a crow collecting sparkling things. T...

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...

In Anastasia Samoylova's "Breakfast With" series, photo books are splayed open and the iconic images therein mingle with the first meal of the day, reading as affectionate homages to...

Chromogenic print, from an edition of 25 inthe 20 x 24" size. Toshio Shibata is one of Japan's leading landscape photographers. But he has chosen a most unconventional subject for h...

I am inspired by Andy Warhol, who taught us through his silk-screened images of Campbell Soup cans back in 1962 that objects of our popular culture cab be interpreted as “art” if we ...

John Schieffer graduated in 1995 from Paier College of Art in Hamden, Connecticut with a Bachelor of Fine Arts degree. The salutatorian entered the world of illustration at Mercer Mayer Productions as a children’s book illustrator. It was a job where he used his artistic abilities although it was not an outlet for a serious painting career. (He has a written and illustrated a book of his own that is awaiting a publisher). John then worked in the field of graphics at Leslie Roy...

2008, direct to plate photogravure, 30 3/4 x 35 inches, edition of 50

This is egg-oil on Birch panel. A professor of painting at Southern Methodist University since 1984, Barnaby Fitzgerald spent his childhood in Italy where he earned a printmaking de...

A professor of painting at Southern Methodist University since 1984, Barnaby Fitzgerald spent his childhood in Italy where he earned a printmaking degree in Urbino. He received a BFA...

“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...

Randall Exon (b. 1956) was born in Vermillion, South Dakota. Exon earned his B.F.A. in painting from Washburn University in Topeka, Kansas, and an M.F.A. at the University of Iowa. I...

A professor of painting at Southern Methodist University since 1984, Barnaby Fitzgerald spent his childhood in Italy where he earned a printmaking degree in Urbino. He received a BFA...

This is a Vintage Silver Gelatin Print, signed, titled, dated, and numbered in ink on recto.

Dana Frankfort SHE SELLS SEASHELLS (I), 2016 oil on paper 30.25 x 44 in (76.8 x 111.8 cm) paper size 32.75 x 46.5 x 1.75 in (83.2 x 118.1 x 4.4 cm) framed

McCurry is recognized universally as one of today's finest image-makers, has won many of photography's top awards. Best known for his evocative color photography, McCurry captures th...

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 fat...

Nicolino Calyo's career reflects a restless spirit of enterprise and adventure. Descended in the line of the Viscontes di Calyo of Calabria, the artist was the son of a Neapolitan army officer. (For a brief biographical sketch of the artist see Philadelphia Museum of Art, Pennsylvania, Philadelphia: Three Centuries of American Art, exhib. cat. [1976], pp. 299-301 no. 257.) Calyo received formal training in art at the Naples Academy. His career took shape amidst the backdrop of the political turbulence of early nineteenth-century Italy, Spain, and France. He fled Naples after choosing the losing side in struggles of 1820-21, and, by 1829, was part of a community of Italian exiles in Malta. This was the keynote of a peripatetic life that saw the artist travel through Europe, to America, to Europe again, and back to America. Paradoxically, Calyo’s stock-in-trade was close observation of people and places, meticulously rendered in the precise topographical tradition of his fellow countrymen, the eighteenth-century vedute painters Antonio Canale (called Canaletto) and Francesco Guardi. In search of artistic opportunity and in pursuit of a living, Calyo left Malta, and, by 1834, was in Baltimore, Maryland. He advertised his skills in the April 16, 1835 edition of the Baltimore American, offering "remarkable views executed from drawings taken on the spot by himself, . . . in which no pains or any resource of his art has been neglected, to render them accurate in every particular" (as quoted in The Art Gallery and The Gallery of the School of Architecture, University of Maryland, College Park, 350 Years of Art & Architecture in Maryland, exhib. cat. [1984], p. 35). Favoring gouache on paper as his medium, Calyo rendered faithful visual images of familiar locales executed with a degree of skill and polish that was second nature for European academically-trained artists. Indeed, it was the search for this graceful fluency that made American artists eager to travel to Europe and that led American patrons to seek out the works of ambitious newcomers. On June 16, 1835, the Baltimore Republican reported that Calyo was on his way north to Philadelphia and New York to paint views of those cities. Calyo arrived in New York, by way of Philadelphia, just in time for the great fire of December 1835, which destroyed much of the downtown business district. He sketched the fire as it burned, producing a series of gouaches that combined his sophisticated European painting style with the truth and urgency of on-the-spot observation. Two of his images were given broad currency when William James Bennett reproduced them in aquatint. The New-York Historical Society owns two large Calyo gouaches of the fire, and two others, formerly in the Middendorf Collection, are now in the collection of Hirschl & Adler Galleries. From 1838 until 1855, Calyo listed himself variously in the New York City directories as a painter, a portrait painter, and as an art instructor, singly, and in partnership with his sons, John (1818-1893) and later, the younger Hannibal (1835-1883). Calyo also attracted notice for a series of scenes and characters from the streets of New York, called Cries of New York. These works, which were later published as prints, participate in a time-honored European genre tradition. Calyo’s New York home became a gathering place for European exiles, including Napoleon III. Between 1847 and 1852 Calyo exhibited scenes from the Mexican War and traveled from Boston to New Orleans with his forty-foot panorama of the Connecticut River. Later, he spent time in Spain as court painter to Queen Maria Christina, the result of his continuing European connections, but he was back in America by 1874, where he remained until his death. The Passaic River rises in the hills just south of Morristown, New Jersey, marking a serpentine eighty-mile course before it empties into Newark Bay. It flows north-northeast to Paterson, where it falls seventy feet in a spectacular cataract before continuing south through Passaic and Newark. William Gerdts, in Painting and Sculpture in New Jersey (1964, pp. 51-2), describes the falls as: the most important [landscape] subject in New Jersey during the eighteenth and nineteenth centuries. . . . The Passaic Falls remained a popular spot, particularly during the romantic period. Indeed, newspapers, periodicals, and gift books contain many accounts of visits to the Falls, sentimental poems written about them or about a loved one visiting the Falls, or even, occasionally, in memory of one who perished in the waters of the Falls — usually intentionally. . . . Waterfalls . . . were popular among travelers in the period and the Passaic Falls were only surpassed by Niagara Falls and Trenton Falls...

Donald S. Vogel's work has entered the collections of the following institutions: Art Institute of Chicago, Chicago, Illinois Beaumont Museum of Fine Art, Beaumont, Texas Charle...