Art Dealers Association of America

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...

Jane Starks immerses herself in the history and archaeology of the places she loves to paint: wilderness areas of Texas, New Mexico, and Utah. The paintings are begun and completed o...

"My artwork is always in progress. There is not a goal. There is not a category for my work. It is all about enjoying the process of every moment. On a blank sheet of washi calli...

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 ...

"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 ...

"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 David H. Gibso...

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 ...

Reprise, 2023 Signed, titled, dated in ink on photographer's label. Archival pigments on handmade Kozo paper Image: 11 3/4" x 8 3/4", Frame: 15 1/8" x 12 1/4" Edition 3 of 10

"We spend our first nine months comfortably submerged, following mother-rhythms, sleeping to the liquid sound of breathing and heartbeat. The sea of origin is forever in us. These paintings of Nassau, Western Ireland...

A Professor of painting at Southern Methodist University in Dallas since 1984, Barnaby Fitzgerald spent his childhood in Italy before receiving a Magistero degree in printmaking at t...

linocut printed in 25 colors on Hahnemuhle paper For over thirty years, Nozkowski has practiced his own form of idiosyncratic abstraction, foregoing a signature style or subject mat...

"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...

Eleanor Jones Harvey, Chief Curator at the Smithsonian American Art Museum, wrote about Bob Stuth-Wade: “Over the course of his career, Bob Stuth-Wade has examined his responses t...

"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...

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 ...

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...

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...

The paper size is 30 1/8 x 44 inches

David Everett polychrome mahogany sculpture.

Inspired by the J. R. R. Tolkien quote "Not All Those Who Wander Are Lost" from the poem "All That is Gold Does Not Glitter" from "The Lord of the Rings." The poem reads: "All th...

Signed, titled, dated in ink on photographer's label. Archival pigments on Kozo paper Image: 11 3/4" x 8 3/4", Frame: 15 1/8" x 12 1/4" Edition 2 of 10

Gary Hume Grey Leaves 2004 Screen print in 4 colours with one glaze, printed on 400gsm Somerset Tub Sheet: 28 x 23 inches; 71 x 59 cm Frame: 30 3/8 x 25 1/...

Signed and labeled on recto. Vintage platinum print Image 4.5 x 5.75", Mount 5 x 7.25", Mat 16 x 20"

Signed in pencil on verso Vintage gelatin silver print Image: 9" x 6", Paper: 10" x 8", Matted 20" x 16"

Ken Price Hermit Crab Cup 1972 Silkscreen on paper Print: 28 x 22 inches; 71 x 56 cm Frame: 30 5/8 x 24 3/4 inches; 78 x 63 cm Edition of 60 Signed, title...

Will Henry Unknown Abstraction, 2021 Gouache on paper 9 x 12 inches

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

Bruce Cohen is known for engaging his viewers with intriguing interiors in his distinctive, crisp, realist style. Influenced by Dutch still-life painting and Surrealism he orchestrat...

This painting demonstrates the source of Arnoldus Bloemers’ enduring popularity. A profusion of peonies, honeysuckle, and poppies share the confines of a terracotta urn sitting on a ...

"Prisms" is the most recent body of work by French artist Denis Darzacq. In this work, vibrant colored shapes have been combined in ways that jubilantly evoke the same vital energy, ...

2012, 4-plate aquatint with 22 colors, 21 7/8 x 29 3/8 inches, edition of 25 For over thirty years, Nozkowski has practiced his own form of idiosyncratic abstraction, foregoing a si...

Francesca Fuchs Green Crystal, 2018 acrylic on canvas over board 16 x 22 1/4 in (40.6 x 56.5 cm) This work is from a series called How to Tell the Trut...

Vintage platinum/palladium print 66NNF Titled in pencil on recto Variously numbered in pencil with plate number printed on verso. The English photographer, Peter Henry Emerson, promoted photography as an independent art form and created an aesthetic theory called “naturalistic photography.” Trained as a physician, Emerson first began to photograph as part of an anthropological study of the peasants and fishermen of East Anglia. These black-and-white photographs, published in books such as Life and Landscape on the Norfolk Broads...

Titled on recto Vintage hand painted albumen print Paper 13 x 9 1/2 inches; Image 11 x 8 inches

Signed, titled, dated in ink on photographer's label. Archival pigment print on Kozo Paper Image/Paper: 12" x 8" AP 1

EX COLL.: the artist; to I. David Orr (1904–1997), Long Island, New York; to his estate, 1997 until the present Originally trained as a figurative painter, Kline was an exceptional ...

large abstract oil painting on canvas green orange brown

Oil painting on linen of chandelier in overgrown forest. nature trees landscape surreal

Signed, titled, dated in ink on photographer's label. Archival pigments on Kozo paper 8 7/8 x 11 3/4 " 22.5 x 30 cm Edition 2 of 10

Signed on recto. Vintage platinum print Image 5.75 x 7.5", Mount 6 x 8", Mat 16 x 20"

Michael Gregory was born in 1955 in Los Angeles, CA and received his BFA from the San Francisco Art Institute in 1980. Previously living and working in Bolinas, California, Gregory h...

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

Signed on verso in pencil; Artist copyright stamp on verso Gelatin Silver Print Image: 19-3/8 x 15-1/2" inches, Paper: 20 x 16 inches

SAPERE AUDE. Dare to be wise. Immanuel Kant’s directive is embodied in the work of David Ligare. For thirty-five years, Ligare has dedicated his work to ...

Danny Lyon (born 1942), is a self-taught American photographer and filmmaker. Born in Brooklyn, NY, he is also credited as an accomplished writer to accompany his photographs. He stu...

Humakura, 2023 Signed, titled, numbered and dated in ink on photographers label. Archival pigments on Kozo paper Image/Sheet: 12" x 8" Edition 4 of 10

Mt Fuji, 2023 Signed, titled, dated in ink on photographer's label. Archival pigments on Kozo paper Image/Paper: 22" x 16-1/2", Framed: 27-3/4" x 21-3/4" Editi...

"GENESIS is Sebastião Salgado’s love letter to the planet. It is the result of an epic eight-year expedition to rediscover the mountains, deserts, and oceans, the animals and peoples...

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 ...

Brice Marden Celadon Muse 2003 Two color etching / one color lithograph 22 x 30 inches; 56 x 76 cm Edition of 45 Signed, dated, and numbered in graphite (lower recto) Frame available...

Signed, titled, dated in ink on photographer's label. Archival Pigments on unwashed Kozo Paper 23 x 28 cm Edition 1 of 10

signed and number in pencil on verso

Born in 1957 and trained in Paris's École Nationale Supérieure des Beaux-Arts, Ruiz's career has been a rich tapestry of artistic exploration and professional achievement. His format...

Lucian Freud After Constable's "Elm" 2003 Etching on Somerset Textured White paper 18 7/8 x 15 inches; 48 x 38 cm Edition of 46 Initialed and numbered in graphite (lower recto) Frame available upon request Published by Matthew Marks Gallery...

It is infrequent, to say the least, that a diagnosis of tuberculosis proves fortuitous, but that was the event, in 1921, that set Paul Starrett Sample on the road to becoming a professional artist. (The best source for an overview of Sample’s life and oeuvre remains Paul Sample: Painter of the American Scene, exhib. cat., [Hanover, New Hampshire: Hood Museum of Art, 1988] with a detailed and definitive chronology by Sample scholar, Paula F. Glick, and an essay by Robert L. McGrath. It is the source for this essay unless otherwise indicated.) Sample, born in Louisville, Kentucky, in 1896 to a construction engineer and his wife, spent his childhood moving with his family to the various locations that his father’s work took them. By 1911, the family had landed in Glencoe, Illinois, settling long enough for Paul to graduate from New Trier High School in 1916. Sample enrolled at Dartmouth College, in Hanover, New Hampshire, where his interests were anything but academic. His enthusiasms included the football and basketball teams, boxing, pledging at a fraternity, and learning to play the saxophone. After the United States entered World War I, Sample, to his family’s dismay, signed on for the Naval Reserve, leading directly to a hiatus from Dartmouth. In 1918 and 1919, Sample served in the U.S. Merchant Marine where he earned a third mate’s license and seriously contemplated life as a sailor. Acceding to parental pressure, he returned to Dartmouth, graduating in 1921. Sample’s undergraduate life revolved around sports and a jazz band he formed with his brother, Donald, two years younger and also a Dartmouth student. In November 1933, Sample summarized his life in a letter he wrote introducing himself to Frederick Newlin Price, founder of Ferargil Galleries, who would become his New York art dealer. The artist characterized his undergraduate years as spent “wasting my time intensively.” He told Price that that “I took an art appreciation course and slept thru it every day” (Ferargil Galleries Records, circa 1900–63, Archives of American Art, Smithsonian Institution, available on line). In 1920, Donald Sample contracted tuberculosis. He went for treatment to the world-famous Trudeau Sanitorium at Saranac Lake, in New York State’s Adirondack Mountains for the prescribed regimen of rest, healthful food, and fresh air. Visiting his brother in 1921, Paul also contracted the disease. Tuberculosis is highly contagious, and had no certain cure before the development of streptomycin in 1946. Even for patients who appeared to have recovered, there was a significant rate of recurrence. Thus, in his letter to Price, Sample avoided the stigma conjured by naming the disease, but wrote “I had a relapse with a bad lung and spent the next four years hospitalized in Saranac Lake.” The stringent physical restrictions imposed by adherence to “the cure” required Sample to cultivate an alternate set of interests. He read voraciously and, at the suggestion of his physician, contacted the husband of a fellow patient for instruction in art. That artist, then living in Saranac, was Jonas Lie (1880–1940), a prominent Norwegian-American painter and an associate academician at the National Academy of Design. Lie had gained renown for his dramatic 1913 series of paintings documenting the construction of the Panama Canal (The Metropolitan Museum of Art, New York; United States Military Academy, West Point, New York). Primarily a landscape artist, Lie had a particular affinity for scenes with water. His paintings, impressionistic, atmospheric, and brushy, never strayed from a realistic rendering of his subject. Sample regarded Lie as a mentor and retained a lifelong reverence for his teacher. Sample’s early paintings very much reflect Lie’s influence. ` In 1925, “cured,” Sample left Saranac Lake for what proved to be a brief stay in New York City, where his veteran’s benefits financed a commercial art course. The family, however, had moved to California, in the futile hope that the climate would benefit Donald. Sample joined them and after Donald’s death, remained in California, taking classes at the Otis Art Institute in Los Angeles. In Sample’s account to Price, “I couldn’t stomach the practice of painting a lot of High Sierras and desert flowers which seemed to be the only kind of pictures that were sold here so I got a job teaching drawing and painting at the art school of the University of Southern California.” Initially hired as a part-time instructor, Sample progressed to full-time status and ultimately, by the mid-1930s, to the post of Chairman of the Fine Art Department. Sample, however, did not want to wind up as a professor. “Teaching is all right in small doses,” he wrote, “but I have a horror of drifting into being a college professor and nothing more.” At the same time as he taught, Sample began to exhibit his work in a variety of venues at first locally, then nationally. Though he confessed himself “a terrible salesman,” and though occupied with continued learning and teaching, Sample was nonetheless, ambitious. In 1927, he wrote in his diary, “I am eventually going to be a painter and a damned good one. And what is more, I am going to make money at it” (as quoted by Glick, p. 15). In 1928, Sample felt sufficiently solvent to marry his long-time love, Sylvia Howland, who had also been a patient at Saranac Lake. The Howland family were rooted New Englanders and in summertime the Samples regularly traveled East for family reunion vacations. While the 1930s brought serious hardship to many artists, for Paul Sample it was a decade of success. Buttressed by the financial safety net of his teacher’s salary, he painted realist depictions of the American scene. While his work addressed depression-era conditions with a sympathetic eye, Sample avoided the anger and tinge of bitterness that characterized much contemporary realist art. Beginning in 1930, Sample began to exhibit regularly in juried exhibitions at important national venues, garnering prizes along the way. In 1930, Inner Harbor won an honorable mention in the Annual Exhibition of the Art Institute of Chicago. That same year Sample was also represented in a show at the Albright-Knox Gallery in Buffalo and at the Biennial Exhibition of the Corcoran Gallery of Art, Washington, D.C. In 1931, Dairy Ranch won the second Hallgarten Prize at the Annual Exhibition of the National Academy of Design, in New York. Sample also made his first appearances at the Carnegie Institute, Pittsburgh, and The Pennsylvania Academy of the Fine Arts, Philadelphia. In 1936, Miner’s Resting won the Temple Gold Medal at the Pennsylvania Academy’s Annual Exhibition. Always interested in watercolor, in 1936, Sample began to send works on paper to exhibitions at the Whitney Museum, New York. While participating in juried exhibitions, Sample also cultivated commercial possibilities. His first New York art dealer was the prestigious Macbeth Gallery in New York, which included his work in a November 1931 exhibition. In 1934, Sample joined the Ferargil Galleries in New York, after Fred Price arranged the sale of Sample’s Church Supper to the Michele and Donald D’Amour Museum of Fine Arts in Springfield, Massachusetts. In 1937, The Metropolitan Museum of Art purchased Sample’s Janitor’s Holiday from the annual exhibition of the National Academy of Design, a notable honor. As prestigious as this exhibition schedule may have been, by far Sample’s most visible presence in the 1930s and 1940s was the result of his relationship with Henry Luce’s burgeoning publishing empire, Time, Inc. Sample’s first contribution to a Luce publication appears to have been another San Pedro...

Signed, titled, dated in ink on photographer's label. Archival pigments on Kozo paper Image: 23 5/8" x 16 3/4", Frame: 28 1/4" x 20 1/4" AP 3

signed, titled and dated by artist in pencil on verso

signed and numbered in pencil on verso

Signed on recto Platinum Print Image - 16.25 x 12.25

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...