Art Dealers Association of America

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

"My head is somewhere near the intersections of the fields of art, history, psychology, engineering, and religion," Dan Wingren was quoted as saying, when he was named the Meadows Di...

Lucian Freud After Chardin 2000 Etching on White Somerset Textured Paper 30 3/4 x 37 3/4 inches; 78 x 96 cm Edition of 46 Initialed and numbered in graphite (lower recto) Frame available upon request Published by Matthew Marks Gallery...

Ink, watercolor, colored marker on paper

Colored marker on heavy paper

Colored marker on heavy paper

Signed and dated (at lower right): MOORE 21

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...

"Since childhood, I have been making clay figures to express what interested me. When I make a figure I try to feel what my subjects feel from the inside out. I choose the motif of p...

"In the world of still life and landscape, conceptual events meet one another – the structural meets the narrative, the small stands in the space of the large, and color has a chance...

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 ...

Framing Included in Listing Price, Free Shipping for the US, 14-Day Return Policy. Two 4.5 x 3.25 inch unique vintage Kodak prints of Jerry Hall by Antonio...

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...

Colored ink marker on paper

Colored ink marker on paper

Ink, colored marker on heavy paper

Colored ink marker on paper

Vintage Albumen print

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...

Ink, colored marker on paper

Colored ink marker on paper

Ink, colored marker on paper

Romona Youngquist was born on January 11, 1960 in Yuba City, California, but grew up in Eastern Oklahoma. Youngquist essentially started out in life as a child of nature, spending her time exploring the woods with her dog and collecting critters. While exploring, she also studied the design and color of nature. She recalls many times standing in a field just staring in fascination at the values of the deciduous trees against a dark Oklahoma sky before a storm then rushing home to draw what she had seen. Technically self-taught, she thinks of nature as her real teacher. In 1994 she was awarded a grant from the Alaska State Council for the Arts to study with Oregon landscape painter Michael Gibbons. In the late 1990’s she studied with Michael Workman, a leading Landscape painter from Utah. She has taken their valuable lessons and strengthened her own individual style. Romona also admires the work of Russell Chatham, Emil Carlson...

Gail Norfleet earned her BFA at The University of Texas at Austin, and her MFA at Southern Methodist University in Dallas. Among others, she has had solo exhibitions in Dallas at The...

Gail Norfleet earned her BFA at The University of Texas at Austin, and her MFA at Southern Methodist University in Dallas. Among others, she has had solo exhibitions in Dallas at The...

A native New Yorker, Brosen has spent a lifetime wandering its streets, discovering its long history and witnessing its constant metamorphosis. The city is his muse and his primary s...

David A. Dreyer was born in Dallas in 1958, and earned his BFA and MFA at Southern Methodist University. He was a recipient of the Moss/Chumley Award from the Meadows Museum and has ...

Brian Cobble’s landscapes tend to particularly focus on the interplay of man and his surroundings, whether natural or built. A signature attention to the liminal aspects of a scene, ...

Peter Fischli / David Weiss Equilibres 1984–85/2006 Limited-edition book with photograph in linen-bound portfolio Photograph: 12 1/4 x 9 1/8 inches; 31 x 23 cm Book: 9 1/4 x 7 3/4 x 7/8 inches; 24 x 20 x 2 cm Portfolio: 15 x 11 1/2 x 1 1/2 inches; 38 x 29 x 4 cm Edition of 60 Photograph signed and numbered in ink (lower verso) Book signed and numbered in graphite on title page For Equilibres, the well-known series of photographs from the mid-1980s, Peter Fischli and David Weiss balanced everyday household items on top of each other in an absurd equilibrium. The Equilibres photographs anticipate Fischli and Weiss...

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

signed "Emile Noirot 1893" at lower right overall dimensions, including frame, are 19 3/4 x 23 5/8 inches

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...

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...

Colored marker on heavy paper

From the acclaimed series "LA Day (2004)", this photograph by Michael Light is available as a 40 x 50 inch editioned print of the Golden State Freeway Looking Southeast Over Fernando Pass. Listing includes framing ($1,000 value with non-glare museum glass), free shipping to the continental US, and a 14 day return policy. Michael Light Golden State Freeway Looking Southeast Over Fernando Pass, 2004 Image Size: 40 x 50 inches Frame Size: 42 x 52 x 2 inches Edition 3 of 10 Signed and editioned on verso Artist Biography - Michael Light was born in 1963. The pre-eminent aerial photographer of his generation, he is the recipient of a Guggenheim Fellowship for photography and his work is in the collections of major museums from SF MoMA to the Victoria and Albert. Prior to taking up aerial photography, Light conceived of and put together the book Full Moon - the first look at NASA photography as fine art - and a project which was published in multiple editions selling several hundred thousand copies around the world. In a way Full Moon had a bearing on Light's subsequent aerial work, as he continues to see and explore the terrestrial world much as the astronauts saw the moon. For the last 15 years Light has been flying his own small aircraft primarily over the American West investigating how both man and nature make their mark on the landscape. To date Light has completed 18 separate Western projects - each of which comprises an oversize handmade artist's book as well as more traditional prints. Largely documenting the impact of man and industry on the land (but not immune to the sublime) Light's subjects range from Utah's gold and copper mines and the (over)development of places like Sun City, AZ and Lake Las Vegas, NV to contrasting Arizona's Meteor Crater - the largest meteoric impact site in the Americas - with James Turrell's Roden Crater...

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...

Matt Magee Arkoi, 2022 Monotype on BFK Rives 26 1/4 x 19 3/4 in (66.7 x 50.2 cm) JPHB 5644

Listing includes free shipping for unframed prints in the continental US and a 14-day return policy. Please inquire for framing options. We offer framing from our New York and Los Angeles gallery...

Leon Polk Smith (1906 -1996) holds a unique place in a long tradition of American geometric abstract painting. Born near Chikasha, a Native American territory later annexed by the U....

"Rainy Day - Near Paris, France" is a watercolor on Canson Aquarelle French cold press watercolor paper. The price does not include a frame. The overall paper size is 6 x 9 inches. In addition to being one of America’s foremost illustrators, Bart Forbes creates paintings and watercolors for himself. This private and very personal work, is painted from his mind’s eye. Forbes’ oil paintings express a time of day or a mood through his use of color, texture, and composition. Forbes moved to Dallas in 1967, after completing graduate study at the Art Center College of Design in Los Angeles, following his BFA in art from The University of North Carolina at Chapel Hill. Forbes was the official artist for the 1988 Olympic Games in Seoul, Korea. His public works include the cover of Time Magazine; 19 commemorative stamps for the US Postal Service, including the Ronald Reagan stamp; and official artworks for the Kentucky Derby, Indianapolis 500...

Signed "Earl W Stroh" at lower right. This is an Artist Proof. The price includes a period wormy chestnut frame with gold leaf. The outer frame...

Miles Cleveland Goodwin says, "I don’t like to do things I don’t know." Not unlike the spirit of Southern literature and Delta blues music, there is an autobiographical nature to his...

Listing includes free shipping in the US and a 14-day return policy. All prints are made to order and will arrive in mint condition directly from Will Adler's studio in Santa Barbara. Will Adler Mexico, 2012 20 x 30 inch archival pigment print Edition 6 of 8 - *last print at this price* Signed on adhesive certificate Other sizes are available from the same edition. 30" wide, 40" wide, 50" wide and 60" wide. Please inquire for pricing. Artist Biography - Will Adler is a 38 year old west coast photographer known for his distinctive take on the surf world. Adler's laid back, light infused images, (as often of women surfers as men) convey the spirit and atmosphere of place as much as the action of the sport and have earned him a cult following in surfing and photography circles. For his summer show at Danziger Gallery, Adler is showing pictures from Hawaii, California, and Montauk shot for himself and for magazines such as Juxtapoz, Neon, Surfer, WAX, and The New Yorker, His commercial clients have included Quiksilver, Patagonia, Nike, and Hixsept. The 2014 summer show at Danziger Gallery was curated by Tom...

signed "Ike Edward Morgan" at lower left

Signed on back

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...

In Miles Cleveland Goodwin’s soulful compositions, he narrates the story of his life. Goodwin responds to his environment, the lives of those living around him, and the mysteries of ...

Signed and dated (on verso): Robert Minervini 2019

Vera Barnett has taken on a range of themes in her works, producing series of paintings inspired by phobias (as in this painting), famous artworks, and the written word. Barnett’s...

"In the world of still life and landscape, conceptual events meet one another – the structural meets the narrative, the small stands in the space of the large, and color has a chance...

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...

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...

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

Watercolor and gouache on paper

Human and Animal Locomotion. Plate 577. Walking; saddle; irregular; white horse Clinton. 14 x 20 inch original vintage collotype print from 1887 Image size 5 1/2 x 18 1/8 inches Muy...

Leon Polk Smith (1906 -1996) holds a unique place in a long tradition of American geometric abstract painting. Born near Chikasha, a Native American territory later annexed by the U....

Gary Hume Falling Bear 1995 Silkscreen 32 3/4 x 26 inches; 83 x 66 cm Edition of 25 Signed, dated, and numbered in graphite (lower recto) Frame available upon request Available fro...

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 th...