Art Dealers Association of America

Pentti Sammallahti Kathmandu 1994 Gelatin Silver print

Color aquatint wtching

51 x 63 inch type-c print, framed to 52 x 66 inches. Edition 7. Signed, titled, dated and editioned on label verso. Other sizes available - please inquire. In a persistent search fo...

Dana Frankfort FATI, 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

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...

Signed (at lower right): L; (on verso): D. Ligare / 2015

Pentti Sammallahti Pyhäjärvi, Finland (Horse & Barn) 1982 Gelatin Silver print

signed, titled and dated on verso, artists stamp in ink

4 minute animation. Edition of 20. Dimensions are of a tv or monitor of average size. Individual drawings are also available.

acrylic paint on photograph on paper Feeling that older women seemingly disappear in our society, Brown has created an army of them. In this series, Paperdolls, the artist began wi...

acrylic paint over photograph on paper. Feeling that older women seemingly disappear in our society, Brown has created an army of them. In this series, Paperdolls, the artist began...

C Print on Fujiflex paper. Edition of 6 Tillman’s portrayals of China’s leading contemporary artists examine a unique psychological landscape of the present-day Chinese art world. ...

Signed and numbered in pencil on recto.

suns.antidote, 2014 gouache on paper mounted on canvas, mounted on panel 24 x 20 inches If some artists’ studios are factories, efficient and methodical, and some are gardens, c...

Photograph, mounted on cardboard folded in the middle, 10 x 16 1/2“ (25,5 x 42 cm), Ed. 200, signed and numbered

Signed, titled & dated in pencil on verso; Signed in ink on recto

BETH LIPMAN WILD MADDER (plate), 2021 glass, permanent photographic transfer 1 x 6 7/8 in. etched "BL 2021" on back

Colored markers on heavy paper

Pastel on black paper

Tamarisk, 2012 oil on linen, 31-1/2 x 31-1/2 inches Tamarisk is part of a series of recent paintings by Israeli artist Gilad Efrat of the Negev desert. Comprising over half of Isr...

4 x 5 inch contact print (image size), on 8 x 10 inch sheet, edition 10, signed on verso Toshio Shibata is one of Japan's leading landscape photographers. But he has chosen a most u...

Throughout her career, Geesaman photographed public parks and formal gardens in the United States and Europe, focusing on the intersection of nature and artifice in the cultivated la...

ADRIANA MARMOREK GRISAILLE FLOWER BUD, 2019 porcelain 7.87 x 5.51 x 5.71 in. 20 x 14 x 14.5 cm.

Edition of 245 published by Buchholz + Schipper Koln

In Colin Hunt’s new paintings, myriad tiny rocks, grains of sand, and strands of rockweed form a coastal beach, while lush forests pierce a crystalline sky. Elsewhere, palpable mists...

Father's Day Picnic, 1948 Gelatin silver print Signed in pencil on recto.

photograph of an imaginary creature called an INKLING. Edition of 1/8

Born in Bohemia in what is now the Czech Republic, Rudolph Ruzicka emigrated to the United States when he was ten years old. His family settled in Chicago, where Ruzicka worked as a ...

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

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

David Aylsworth (born 1966, Tiffin, OH) earned a BFA from Kent State University in 1989 and was an artist resident at the Core Program, Museum of Fine Arts, Houston, from 1989-1991. ...

Signed (at lower right): A. Weiskopf

Pentti Sammallahti Barun-Khemchik, Tuva 1997 Gelatin Silver print

cast steel sculpture. Can sit tabletop or has a bracket to hang on the wall. Currently on exhibition and cannot be shipped until February 2021.

cast iron sculpture with custom made pedestal currently on exhibit and not available to ship until February 2021

15 x 15 archival pigment print (image size 14 x 14 inches), edition 8. Signed, titled, dated and editioned on frame label provided. Framing also available at an additional cost. In ...

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

abstract still life painting in ink on canvas. blind contour drawing colorful

Toshio Shibata is one of Japan's leading landscape photographers. But he has chosen a most unconventional subject for his landscape photography - infrastructure. He photographs dams,...

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

20 x 24 inch type-c print, edition 25 Toshio Shibata is one of Japan's leading landscape photographers. But he has chosen a most unconventional subject for his landscape photography...

Colored marker on heavy paper

15 x 24 inch digital chromogenic print Edition 15 + 3AP Signed, titled, dated and editioned on frame label provided Neal Slavin, a native New Yorker, began photographing groups in 1972. He quickly realized that shooting in color yielded greater nuance and detail, placing him among the first generation of photographers, along with William Eggleston and Joel Meyerowitz, to fully embrace color. Over the past four decades, Slavin has recorded hundreds of groups from the most obscure to the most celebrated, both in the US and abroad: Sabrett Hot Dog vendors, NYC; The Silurian Border Morris Men, Herefordshire; the Mormon Tabernacle Choir, Salt Lake City; Elephant Keepers with Katie and Kumara, Bedfordshire; and the Mahayana Buddhist Service, NYC. He has published three books: “Portugal” (Lustrum Press, 1971), “When Two or More Are Gathered Together” (Farrar Straus Giroux, 1974); and “Britons” (Aperture, 1986). His prints have been acquired by the Metropolitan Museum of Art, New York; the Centre Pompidou, Paris; the International Center of Photography (ICP), New York; the National Portrait Gallery and the National Museum of American Art, Washington, DC; the National Media Museum, London; and the John Paul Getty...

Stanley Twardowicz (1917–2008), a one-time orphan, Golden Gloves boxer, professional baseball player and auto worker, emerged from a hardscrabble upbringing in Detroit to become a po...

Handmade paper abstract forms in blue, black and fuchsia. Edition of 35. This is an artists proof.

Ink drawing of library stacks of books on paper.

Ink drawing of library stacks of books on paper.

mixed media and collage on cardboard. butterfly forest

ink drawing on paper blind contour drawing, artists self-portrait

2 color lithograph on gold abaca. Image of a skeleton surrounded by leaves and letters spelling JUBILATION

Winold Reiss (1886-1953), who scholars increasingly recognize as a pivotal figure in early 20th-century American art, is known for his evocative portraits that capture the spirit and...

24 x 19.25 inch digital chromogenic print Edition 15 + 3AP Signed, titled, dated and editioned on frame label provided Neal Slavin, a native New Yorker, began photographing grou...

abstract watercolor and ink painting of intertwined tubular forms on archival paper

From the series Blow Up

screenprint in colors AP V/XX ed.100 ON THE BOWERY, West Germany, Edition Domberger

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

Throughout her career, Geesaman photographed public parks and formal gardens in the United States and Europe, focusing on the intersection of nature and artifice in the cultivated la...

watercolor, silver leaf on BFK paper

This image, taken in Cuba during the artist's visit in 1997, was part of a collaboration with author Andrei Codrescu, and resulted in the publication of a 1999 book entitled "Ay Cuba...

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...