Art Dealers Association of America

Valley House Gallery is honored to present a selection of paintings from the estate of American artist, John Hartell (1902-1995). John Hartell taught two disciplines at Cornell University in Ithaca, New York: freshman architecture and graduate painting. He was a much-loved professor there from 1930 until his retirement in 1967; one of his most illustrious students is the architect Richard Meier. As an artist, Hartell's first solo exhibition was in 1937 at Kleeman Gallery in New York. He exhibited at Kraushaar Galleries in New York for four decades, beginning in 1943. The Hartell Gallery at Cornell University, under the Sibley Dome, is named for him. In describing John Hartell, the artist Michael Boyd...

Listing includes framing with optium non-glare Plexi, free shipping, and a 14 day return policy. Also available for local pick up in New York City. Heaven's Vault, Villa Farnese, Caprarola (2014) by Karen Knorr 24 x 30 inches (27 x 33 inches framed) Archival pigment print Edition 1 of 5 Signed on artist certificate and acquired directly from the artist. 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...

Listing includes framing with UV plexi ($1,000 value), free shipping for the continental US and EU/UK, and a 14 day return policy. Also available for local pick up at our New York City gallery. A Moment of Solitude... (2019) by Karen Knorr Archival pigment print Image Size: 24 x 30 inches Framed Size: 27 x 33 x 2 inches Edition 1 of 5 Signed on artist certificate and adhesive label 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...

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...

The figure has always been Deborah Ballard’s muse in her sculptures. Ballard works in bronze, cast stone, and plaster; her figures ranging from life-size to hand-size. Ballard says, ...

Serra’s (Italian, b. 1946) revival of archaic painting techniques is founded on his intimate understanding of these older materials and deep respect for “Old Master” paintings from t...

Jennifer Bartlett 6 p.m. from Air: 24 Hours, 1994 Drypoint 19 x 19 inches Edition of 65 Unframed

image size: 8 7/8 x 8 inches This listing is for William Wegman's photograph, "Frame Work", 2010. This is a limited edition photograph with an edition size of 12. This piece is num...

Gail Norfleet earned her BFA at The University of Texas at Austin, and her MFA at Southern Methodist University. She has had solo exhibitions at The McKinney Avenue Contemporary and ...

Bronze sculpture with brown patina. Head of a young girl.

Fred Nagler was born in 1891 in Springfield, Massachusetts, where he first studied wood carving. From 1914 to 1917, he studied at The Art Students League of New York, where his prof...

Listing includes framing, free shipping to continental US and a 14-day return policy. Kate Moss by Annie Kevans 20 x 16 inch paper 16 x 20 inch image Archival pigment print Edition 15 of 50 Signed and edition on the front of the print Frame is in fair condition and is included for free due the condition issues. The print itself is in excellent condition. If you would like the print sent unframed the cost is the same. Please let us know if you would prefer to have us ship the print unframed. Artist Biography - Kevans’ paintings reflect her interests in power, manipulation and the role of the individual in inherited belief systems. She looks at alternative histories and how they relate to current issues and creates what she describes as ‘anti-portraits’ that may or may not be based on real documentation. She believes that, as her work is concept driven, sometimes the actual similarity to the person depicted in the work is irrelevant. This can be seen in her 'Boys' series which is not about portraying dictators as they really looked as children but rather about the notion of the ‘innocent child’ which has influenced images of children in art...

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 Plexiglas, free shipping, and a 14 day return policy. Also available for local pick up in New York City. The Opium Smoker...

Listing includes framing, free shipping in the US, and a 14-day return policy. Classic Nude c. 1975 by Brett Weston. 14 x 11 inches Vintage gelatin s...

signed "A. Lepère" at lower left

David Collins has an ongoing interest in space and memory. Many of Collins’ memories relate to his family’s history in inventing Cold War era technology. Personal recollections of sp...

Brice Marden Lana 2 1966 Screenprint on paper 20 x 24 inches; 51 x 61 cm Edition of 11 Signed, titled, and numbered in graphite (lower recto) This silkscreen was printed by Brice...

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...

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...

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...

In lushly-colored paintings, Mark Messersmith creates dense narratives packed with animals, birds, plants, and insects that express his concern for the shrinking world they inhabit. ...

Oil on canvas

Listing includes framing with UV plexi ($1,700 value), free shipping to the continental USA, and a 14-day return policy. Also available for local pick up from our New York gallery. A Faithful...

Bob Stuth-Wade (American, Born 1953) "Vidya Maya," 2006 charcoal and acrylic on paper 55 1/2 x 46 inches signed "Bob Stuth-Wade" at lower right Eleanor Jones Harvey, Chief Curator a...

Edition of 30 circus ballerina

Listing includes framing with UV plexi, free shipping to the continental US and a 14-day return policy. One 4.5 x 3.25 inch unique vintage Kodak print of Tina Chow (1975). Prints ar...

Signed "Tom Benrimo" at lower right The overall dimensions including the frame are 35 x 41 inches

Oil on canvas

Terrell James Bloom , 2019 Mixed media on stone paper 40 x 28 in (101.6 x 71.1 cm)

William Bailey’s still life paintings present seemingly everyday objects, including bowls, pitchers, and cups, in groupings that conjure the familiar world while offering a metaphysi...

Terrell James Field Study #749, 2020 Oil on vellum 20 x 16 in (50.8 x 40.6 cm)

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 ...

David Everett was born in Beaumont, Texas, and received both his B.F.A. and M.F.A. from The University of Texas at Austin. Valley House began showing his multi-articulated, painted w...

"Stingaree" by artist David Everett is polychromed mahogany, and measures 43 3/8 x 40 1/4 x 21 1/2 inches. It is signed "© D EVERETT 2017". It depicts a mother and child, pelican and...

Valley House Gallery is honored to present a selection of paintings from the estate of American artist, John Hartell (1902-1995). John Hartell taught two disciplines at Cornell University in Ithaca, New York: freshman architecture and graduate painting. He was a much-loved professor there from 1930 until his retirement in 1967; one of his most illustrious students is the architect Richard Meier. As an artist, Hartell's first solo exhibition was in 1937 at Kleeman Gallery in New York. He exhibited at Kraushaar Galleries in New York for four decades, beginning in 1943. The Hartell Gallery at Cornell University, under the Sibley Dome, is named for him. In describing John Hartell, the artist Michael Boyd...

image size: 9 3/4 x 12 5/8 inches William Wegman is a renowned photographer famous for his unique and artistic photographs of Weimaraner puppies. His approach to is far from conven...

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...

Lucian Freud Susanna 1996 Etching on Somerset Textured White paper 20 x 19 5/8 inches; 51 x 50 cm Edition of 40 Initialed and numbered in graphite (lower recto) Frame available upon request Published by Matthew Marks Gallery...

51 x 63.5" (framed size) Fujicolor chrystal print Edition #3/5. Signed, titled, dated and editioned on label verso. Peter Bialobrzeski spent over two years travelling through Ge...

John Cage Medicine Drawings , 1991 Handmade paper with various medicinal herbs (set of twelve) 14 x 12 in (35.6 x 30.5 cm) each

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

"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 ...

Signed in pencil on Verso Gelatin silver print Image: 22 1/2" x 15, Paper: 24" x 20, Matted: 24" x 30"

Charles Demuth was one of the most complex, talented, and deeply sensitive artists of the American modern period. Whether he was painting floral still lifes, industrial landscapes, or Turkish bathhouses, art was, for Demuth, fraught with personal meaning. A fixture of the vanguard art scene in New York, Demuth navigated the currents of Modernism, producing some of the most exquisite watercolors and original oil paintings in twentieth-century American art. Demuth was born in Lancaster, Pennsylvania, the only child of a well-to-do family. He had an awkward and introverted childhood shaped by a childhood illness, Perthes, a disease of the hip that not only left him permanently lame, but, as part of the “cure,” bedridden for two years in the care of his mother. This long period of incapacitation had a deep impact on Demuth, who came to see himself as an invalid, an outsider who was different from everyone else. It was perhaps during this period of indoor confinement that his keen interest in art developed. Several relatives on his father’s side had been amateur artists, and, following his convalescence, his mother encouraged his artistic pursuits by sending him to a local painter for instruction. The majority of his early pictures are of flowers, a subject for which Demuth maintained a lifelong passion. Following high school, Demuth enrolled at the Drexel Institute of Art in Philadelphia, a school renowned for its commercial arts program. He advanced through the program rapidly, and, in 1905, at the encouragement of his instructors, he began taking courses at the Pennsylvania Academy of the Fine Arts. The two leading teachers then at the Academy were William Merritt Chase and Thomas Anshutz. Anshutz, himself a former student of Thomas Eakins, was well liked by his students, and is best known as the teacher of Robert Henri, John Sloan, and several of the other artists of the Ashcan School. Demuth, too, adopted a similar idiom, working in a controlled, realistic manner while at the Academy, where he remained until 1910. In 1907, Demuth made his first trip to Europe, staying in Paris. He spent time on the periphery of the art scene composed of the numerous American artists there, including John Marin and Edward Steichen. He returned to Philadelphia five months later, and immediately resumed courses at the Academy. Despite his introduction to advanced modern styles in Europe, Demuth’s work of this period retains the academic style he practiced before the trip. It wasn’t until he had summered at New Hope, Pennsylvania, in 1908 and 1911, that his style began to evolve. New Hope was a prominent American Impressionist art colony whose members were largely affiliated with the Pennsylvania Academy. Demuth dropped the conservative tone of his style and adopted a freer and more colorful palette. Although he remained based in Philadelphia, Demuth frequently went to New York during this period. Many of the same American artists of the Parisian art scene Demuth had encountered on his earlier European trip now formed the nucleus of New York’s avant-garde, which centered around Alfred Stieglitz’s 291 gallery. It wasn’t long before Demuth began to apply modernist-inspired strategies to his work. He was particularly influenced by the watercolor work of John Marin, also a former student of Anshutz, whose bold use of color in the medium Demuth freely adapted into looser washes of color. In 1912, Demuth again left for Paris, this time studying in the Académie Moderne, Académie Colorossi, and Académie Julian. In Paris Demuth met the American modernist Marsden Hartley. Hartley, a principal figure in the expatriate art circle, acted as a mentor to Demuth, and introduced him to the wide array of modern styles currently practiced in Europe. Hartley also introduced Demuth to many of the members of the Parisian avant-garde, including Gertrude Stein. Demuth was an aspiring writer, and he spent many hours in conversation with Stein. He wrote extensively during this period, and published two works shortly after his return to America. He also developed an interest in illustrating scenes from literary texts. From 1914 to 1919, Demuth produced a series of watercolors of scenes from books such as Emile Zola’s Nana and Henry James’s The Turn of the Screw. Upon his return to America, Demuth settled in New York. In 1914, Demuth had his first one-man show at Charles Daniel’s gallery, which promoted emerging modern American artists, including Man Ray, Rockwell Kent, Yasuo Kuniyoshi, Stuart Davis, and Max Weber. Demuth drew closer to the artistic vanguard in New York, becoming friends with many in the Stieglitz and Daniel circles, including Georgia O’Keeffe, Marcel Duchamp, Carl Van Vechten, and Edward Fiske. New York’s cosmopolitan atmosphere and active nightlife appealed greatly to Demuth. In a sketchy style well suited to watercolor, he painted many vaudeville and circus themes, as well as nightclub, café, and bathhouse scenes. Often with Duchamp, Demuth took part in an urban subculture replete with nightclubs, bars, drugs, and sexual permissiveness, which, for a homosexual artist like himself, allowed room for previously unattainable personal expression. Demuth’s pictures of sailors, bathhouses, and circus performers embody a sensual and sexual undercurrent, expressing the artist’s sense of comfort and belonging in the bohemian subculture of New York. Simultaneously, Demuth deepened his interest in floral pictures, painting these almost exclusively in watercolor. His style evolved from the broad color washes of his earlier pictures to more spare, flattened, and sinuous compositions, inspired by the drawings of Aubrey Beardsley and other artists of the Aesthetic Movement. Demuth’s flower watercolors are moody and atmospheric, sensuous and elegant, introspective and yet full of expressive power. Moreover they are beautiful, and are unequivocally among the finest still lifes in American art. Despite numerous subsequent artistic undertakings that led him in a variety of directions, Demuth never stopped painting flower pictures, ultimately adding fruits and other still-life objects to his repertoire. In 1916, Demuth began to develop a style later known as Precisionism, a form of landscape painting infused with Cubism, in which space is divided into precisely drawn geometric regions of color. Demuth first began to paint the landscape in an appropriated Cubist mode while on a trip with Hartley to Bermuda. In these early landscapes, in which the curvilinear forms of trees intersect the geometrically articulated architectural forms, Demuth explored ideas that shaped the future development of modernism in America. The full realization of Demuth’s explorations came after his return to America in 1917, when he turned his attention to industrial subjects. These works derive from a “machine aesthetic,” espoused by New York artists such as Francis Picabia, Joseph Stella, Albert Gleizes, and Duchamp, by which artists viewed machines as embodying mystical, almost religious significance as symbols of the modern world. Rather than painting the skyscrapers and bridges of New York as did most of his like-minded contemporaries, Demuth returned to his home town of Lancaster, where he painted factories and warehouses in a Precisionist idiom. The titles for these pictures are often contain literary references, which serve as clues for the viewer to aid in the decoding of the artist’s meaning. In 1923, Demuth planned a series of abstract “poster portraits” of his friends and contemporaries in the New York art and literary scene. In these “portraits,” Demuth combined text and symbolic elements to evoke the essential nature of his sitters’ distinguishing characteristics. In this fashion, he painted portraits of such artists as Georgia O’Keeffe, John Marin, and Arthur Dove. His most famous poster portrait, I Saw the Figure 5 in Gold...

Texas artist Jim Stoker began developing his confetti-splatter technique of painting in 2000 to depict his interpretations of the unique flora along the Guadalupe River, as well as t...

Robert Rauschenberg Autobiography, 1968 Three panel offset lithograph on three sheets of paper 66 1/4 x 48 3/4 inches each Ed. 2000, unsigned Unframed Can be displayed horizontally o...

Katharina Fritsch Schlange / Snake 1999/2001 Plastic, paint 7/8 x 7 1/2 x 3 3/8 inches; 2 x 19 x 9 cm Edition of 240 Accompanied by a certificate of authenticity signed and numbered ...

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...

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 ...

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...

Gail Norfleet earned her BFA at The University of Texas at Austin, and her MFA at Southern Methodist University. She has had solo exhibitions at The McKinney Avenue Contemporary and ...

Dallas artist David A. Dreyer’s eighth solo exhibition at Valley House Gallery was presented early in 2021, accompanied by an exhibition catalogue. His recent paintings are inspired ...

In her work, Allison Gildersleeve addresses the theme of memory, exploring the phenomenon of past and present becoming collapsed or entwined by the emotional experience. Gildersle...

This piece is offered framed. The frame size is 23 1/2 x 30 1/2 inches (59.7 x 77.5 cm); the image image size is 20 3/4 x 27 3/4 inches (52.7 x 70.5 cm) Edition of 7 "Benchwork"...

Born in 1933, Otis Huband declared his intention to be an artist at age 6. He earned his BFA and MFA at Richmond Professional Institute of the College of William & Mary, now Virginia...

This pastel is unframed

David Collins was raised in Dallas, received a BFA from the Rhode Island School of Design, and currently lives and works in New York City. Collins has had numerous solo exhibitions i...

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...

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...