Art Dealers Association of America

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...

Associated with the Minimalist art movement of the 1960s, Mangold developed a reductive vocabulary based on geometric forms, monochromatic color, and an emphasis on the flatness of t...

"He [Cobble] has come to accept the fact that low production can lead to under appreciation in the short run, but he also knows that his gifts of perception and discrimination are ra...

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...

Edmund D. Kinzinger was born in 1888, in Pforzhein, Germany. In Munich he studied at the Kirr Schule and the Staatliche Akademie, and pursued graduate studies at the Academie Modern, Paris. Before serving in the German Army, Kinzinger was a master student of Adolph Holzel at the Staatcliche Akademie, Stuttgart; he returned to study under Henrich Waldschmidt after nearly five years of artillery service. Several of Kinzinger’s fellow students in Germany, such as Johannes Itten, would go on to be associated with the Bauhaus school. Coming into contact with all manner of artistic influences in Europe after World War One, Kinzinger’s work may be viewed as a “synthesis” of modernist styles. The influences of Abstract Expressionist, Cubist, and Futurist styles in Kinzinger’s work at this time are symptomatic of his contact with the likes of Hans Hofmann, Pablo Picasso, and Alexander Archipenko. About this period of Kinzinger's work, Philip Van Keuren...

Mary Weatherford The Robot, 2018 Spit bite aquatint on gampi paper chine collé 35 1/4 x 28 1/2 in (89.5 x 72.4 cm) Edition of 25

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...

"I like to go back to a place. Seasons change. Light, which is theater, changes. Nature is tumultuous, and our contact with it makes life happen.” David H. Gibson is a lifelong ph...

Malick Sidibé (1935-2016) was renowned for his celebrated black-and-white photographs of the youth culture in his hometown of Bamako, Mali.

Terrell James A Collective Pulse, 2022 Oil on linen 29 x 42 in (73.7 x 106.7 cm)

The paper size is 30 1/8 x 44 inches

After a tour of duty in the US Navy, Miles Cleveland Goodwin earned a BFA from Pacific Northwest College of Art in Portland, Oregon, in 2007, and eventually returned to coastal Missi...

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...

Listing includes framing with UV plexi, free express shipping and a 14-day return policy. Four 4.5 x 3.25 inch unique vintage Kodak prints featuring Jerry Hall, Pat Cleveland and Adele Lutz. 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. Frame has some minor damage and is note in the pictures. The price reflects this with a reduction compared to similar listings. Antonio Lopez 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...

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...

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...

2009, pigment print photograph, 14 x 11 inches, Edition of 12 signed and numbered by the artist on the reverse William Wegman is a renowned photographer famous for his unique and ar...

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 Malibu, 2009 16 x 24 inch archival pigment print Edition 3 of 8 Signed on adhesive certificate Other sizes are available from the same edition. 30" wide, 40" wide, and 50" 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 Adler...

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...

Human and Animal Locomotion. Plate 691. Fallow deer; doe; galloping; and kid; jumping. 14 x 20 inch original vintage collotype print from 1887 Image size 7 1/2 x 14 1/2 inches Inv...

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 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...

Signed in pencil on recto. Numbered, signed, titled & dated in pencil on verso Gelatin Silver Print Edition of 25

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

Listing includes framing with UV plexiglas, free shipping and a 14 day return policy. Lora Webb Nichols Mary and Maude Platt, 1912 15 x 15 inch gelatin silver print Image Size: 10.75 x 11 inches frame size 18 x 18 x 2 inches Edition of 15 Lora Webb Nichols was born in 1883 and grew up in the small mining town of Encampment, Wyoming. At the age of 16 Lora received her first camera and from that moment and for the next few decades she produced work that is both stunning in its singular voice and revealing in the world it opens up for us. At first Nichols photographed her family, friends, and the landscape around Encampment, but when the town experienced a copper mining boom Nichols expanded her scope to become a photographer for hire shooting portraits and industrial photographs. When the boom collapsed, Nichols took the risk of opening her own business in Encampment - The Rocky Mountain Studio - which opened in 1925. The studio ran for ten years, accumulating 24,000 negatives that illustrate the lives and environment of the people living in and around the town while creating a distinctive and surprising body of work. If one was to attempt an analogy – Nichols’ pictures fit somewhere between Lartigue and Lange - joyful and generous while objectively intimate. In particular what seems to distinguish Nichols’ work is the way she sees the world from a female perspective. As Vince Aletti...

Will Henry "Painting for Porter" 2019 Oil on linen 15 x 13 inches

"The most Greek of all the gods, in art the ideal type of young, but not immature, manly beauty. A master musician, archer, healer, and prophet, he is the god of light and the god of truth. The rugged, strong, masculinity of the stone - its unique character - suggested Apollo to me." - Anita Huffington Quote from the monograph "Anita Huffington," Photographs by David Finn...

Brice Marden Nevis Letter 2009 Etching 30 x 22 1/2 inches; 76 x 57 cm Edition of 45 Signed, dated, and numbered in graphite (lower recto) Frame available upon request Available from Matthew Marks...

"Mirador" by artist David Everett is polychromed mahogany, and measures 28 1/4 x 30 1/2 x 15 1/8 inches. It is signed "© D EVERETT 2023". David Everett was born in Beaumont, Texas, ...

Signed "5/75 / Empress of Silence / W. B. Montgomery 2010" Paper size is 15 x 22 1/2 inches Mat size is 18 x 24 inches Price includes 8-ply rag mat Ar...

Pigment and aluminum dust on canvased board. Whimsical painting of a figure in the style of a classical nude.

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"...

Two-color silkscreen on Arches, 20 x 24” (50,7 x 60,4 cm), in wooden frame, 20 3/4 x 24 3/4” (54,4 x 64,5 cm), printed by Atelier für Siebdruck, Lorenz Boegli, Zurich, Ed. 60/XX, sig...

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...

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...

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

"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 ...

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...

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...

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...

Listing includes framing with UV plexiglas, free shipping and a 14 day return policy. Lizzie Nichols and Perkins, 1913 15 x 15 inch gelatin silver print Image Size: 10.75 x 11 inches Frame size: 18 x 18 x 2 inches Edition of 15 Lora Webb Nichols was born in 1883 and grew up in the small mining town of Encampment, Wyoming. At the age of 16 Lora received her first camera and from that moment and for the next few decades she produced work that is both stunning in its singular voice and revealing in the world it opens up for us. At first Nichols photographed her family, friends, and the landscape around Encampment, but when the town experienced a copper mining boom Nichols expanded her scope to become a photographer for hire shooting portraits and industrial photographs. When the boom collapsed, Nichols took the risk of opening her own business in Encampment - The Rocky Mountain Studio - which opened in 1925. The studio ran for ten years, accumulating 24,000 negatives that illustrate the lives and environment of the people living in and around the town while creating a distinctive and surprising body of work. If one was to attempt an analogy – Nichols’ pictures fit somewhere between Lartigue and Lange - joyful and generous while objectively intimate. In particular what seems to distinguish Nichols’ work is the way she sees the world from a female perspective. As Vince Aletti...

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...

Vera Barnett has taken on a range of themes in her works, producing series of paintings inspired by phobias, famous artworks (as in her series "Classical Plastique,") or most recentl...

Cornelia Foss is renowned for her expressive landscapes, intimate portraits, and still lifes. Born in Berlin in 1931, she spent her early years in Rome before emigrating to the Unite...

Born in 1933, and reared in Virginia, Otis Huband began his formal art education after 4 years in the Navy. He earned his BFA and MFA at Richmond Professional Institute of the Colle...

"The Phoenician goddess of fertility and sexual love, she is also regarded as a moon goddess." Quote from the monograph "Anita Huffington," Photographs by David Finn...

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...

Deborah Ballard is best known for conceiving of figures and groupings of figures who relate to one another (and the viewer) through their body language, relationships and dialogue. S...

Cornelia Foss is renowned for her expressive landscapes, intimate portraits, and still lifes. Born in Berlin in 1931, she spent her early years in Rome before emigrating to the Unite...

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...

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 ...

Robert Peterson, "Flower," pastel on paper, 19 x 26 1/4 inches paper size, 27 1/4 x 35 inches including white mat and frame. The artwork is floated in the mat and only hinged at the...

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...

Listing includes framing with UV plexi, free shipping to the continental US and a 14-day return policy. Nine 4.5 x 3.25 inch unique vintage Kodak print of Pat Cleveland...

signed "© D Everett 1992"

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, ...

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 paintings, prints and drawings, whose style defies convenient labels. Abstract, surreal, cartoonish, sci-fi fantastic, metaphysical, apocalyptic-Baroque - all of these fit but also fall short of fully describing his art." (Edward M. Gomez, "Futuristic Forms Frolic Under Eerie Texan Skies...

About Barnaby Fitzgerald’s work, the scholar Frederick Turner writes, “Fitzgerald’s outrageously gorgeous paintings are a guilty pleasure - yet the guilt is unnecessary, for they do ...

Signed "HP" at lower right, and inscribed "Eric Horsbrugh-Porter / Phyllida one week old" on verso. The overall dimensions, including the frame, are 17 x 21 5/8 inches.

image size: 9 3/8 x 11 1/2 inches 2011, pigment print photograph, Edition of 12. Signed and numbered on reverse by the artist. William Wegman is a renowned photographer famous fo...