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Art Dealers Association of America

Art Dealers Association of America (ADAA)
Art Dealers Association of America (ADAA)
Founded in 1962, the Art Dealers Association of America is a vetted community of more than 180 top-tier galleries across the United States. Working with these member galleries, ADAA appraisers offer assessment services for artworks spanning from the Renaissance to the present day. The ADAA also arranges public forums on important art-related topics and hosts The Art Show, presented each year at New York’s Park Avenue Armory, which stands out among art fairs for its acclaimed selection of curated booths — many of which are one-artist exhibitions.
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Magnolia Blossom
By Imogen Cunningham
Located in New York, NY
This supremely elegant photograph illustrates why Imogen Cunningham’s botanical pictures are a keystone of modernist photography. In the 1920s, Cunnin...
Category

1920s Art Dealers Association of America

Materials

Silver Gelatin

Swimming Pool (Welch, West Virginia)
By O. Winston Link
Located in Santa Monica, CA
Signed in pencil on verso; stamped with photographer's copyright stamp on verso Gelatin Silver Print Paper: 16" x 20", Mat: 20" x 24"
Category

1950s Art Dealers Association of America

Materials

Silver Gelatin

L'orchidée
By Laurent Schkolnyk
Located in Dallas, TX
This is a three-plate color mezzotint. The mat dimensions are 20 x 16 inches. Signed "Schkolnyk" at lower right.
Category

Late 20th Century Art Nouveau Art Dealers Association of America

Materials

Mezzotint

Hopi Snake Dancer in Costume
By Edward Curtis
Located in Santa Monica, CA
Signed on recto. Vintage platinum print Image 5.75 x 7.5", Mount 6 x 8", Mat 16 x 20"
Category

Early 20th Century Art Dealers Association of America

Materials

Platinum

Robert Oppenheimer
By Yousuf Karsh
Located in Santa Monica, CA
Karsh is a master 20th Century photographer. Karsh is known for his portraits of authors, scientists, artists, statesmen, musicians, and other dis...
Category

1950s Art Dealers Association of America

Materials

Silver Gelatin

Francesca Woodman, Providence, RI
By George Lange
Located in New York, NY
Francesca Woodman in Providence, Rhode Island (1976) photographed by George Lange. 14 x 11" archival pigment print 21 x 17 x 2" frame with UV plexgias Edition 2 of 10, signed and e...
Category

1970s Art Dealers Association of America

Materials

Archival Pigment, Digital Pigment

Premiers Symptômes
By Paul Cupido
Located in Santa Monica, CA
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
Category

21st Century and Contemporary Art Dealers Association of America

Materials

Archival Pigment

Next to Nothing, New York
By Lillian Bassman
Located in Santa Monica, CA
signed and number in pencil on verso
Category

Mid-20th Century Art Dealers Association of America

Materials

Silver Gelatin

Hanabi
By Paul Cupido
Located in Santa Monica, CA
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
Category

21st Century and Contemporary Art Dealers Association of America

Materials

Archival Pigment

Wreck with Shattered Window
By Peter Hujar
Located in New York, NY
This early print of this image was made in 1980. It is titled, signed and stamped on verso, by the Executor of the Hujar Estate.
Category

1970s Art Dealers Association of America

Materials

Silver Gelatin

LOVE IS A MANY SPLENDORED THING (LOVE IS IN THE AIR)
Located in New York, NY
In Love is in the Air, Ruiz addresses the politically charged issue of fumigating poppy fields with a deeply human and spiritual tone. This series contrasts the striking beauty of p...
Category

21st Century and Contemporary Art Dealers Association of America

Materials

Oil

SEA MYTH IV
By Valerie B Hird
Located in New York, NY
Valerie B Hird SEA MYTH IV, 2010 oil on gessoed BFK paper 16 x 33 in. 40.6 x 83.8 cm.
Category

2010s Contemporary Art Dealers Association of America

Materials

Gesso, Paper, Oil

SEA MYTH IV
$16,000 Sale Price
20% Off
LOVE IS IN THE AIR
By Julie Hedrick
Located in New York, NY
abstract oil painting with gold acrylic on edge
Category

21st Century and Contemporary Abstract Art Dealers Association of America

Materials

Gold

The Return of the Hunter, Chandra Mahal, Jaipur, 2012
By Karen Knorr
Located in New York, NY
Listing includes framing with UV Plexi ($1,250 value), free shipping to the continental US and a 14-day return policy. Offering local pick up from our Los Angeles location. This is one of the last remaining editions from one of the most popular images from Karen Knorr's acclaimed "India Song" series. The Return of the Hunter, Chandra Mahal, Jaipur, 2010 31.5 x 39.5 inches, 34 x 42 x 2 inches framed Archival pigment print Edition 1 of 5 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...
Category

2010s Art Dealers Association of America

Materials

Photographic Paper, Color, Archival Pigment

Azul, 2023
By Paul Cupido
Located in Santa Monica, CA
Signed, titled, dated in ink on photographer's label. Archival pigments on handmade Kozo paper Image/Sheet: 7-3/4" x 10-1/4", Frame: 11-1/4 x 13-3/4" AP 2
Category

21st Century and Contemporary Art Dealers Association of America

Materials

Archival Pigment

Palais Royal, Paris, 1989
By Edouard Boubat
Located in Santa Monica, CA
Palais Royal, Paris, 1989/Printed Later Signed in ink on recto Gelatin silver print 16 x 12 inches
Category

20th Century Art Dealers Association of America

Materials

Silver Gelatin

Gold Road (fallen pollen), 2022
By Cig Harvey
Located in Santa Monica, CA
Signed, titled and dated in ink on accompanying photographer's label Archival pigment print Image: 16" x 20", Paper: 17" x 21", Matted: 24" x 30" Edition of 10
Category

2010s Art Dealers Association of America

Materials

Archival Pigment

Reprise
By Paul Cupido
Located in Santa Monica, CA
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
Category

21st Century and Contemporary Art Dealers Association of America

Materials

Archival Pigment

Berkeley House
By Mary Vernon
Located in Dallas, TX
"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...
Category

21st Century and Contemporary Contemporary Art Dealers Association of America

Materials

Oil, Panel

Two Callas
By Imogen Cunningham
Located in New York, NY
This supremely elegant photograph illustrates why Imogen Cunningham’s botanical pictures are a keystone of modernist photography. In the 1920s, Cunnin...
Category

1920s Art Dealers Association of America

Materials

Silver Gelatin

San Pedro Harbor
By Paul Sample
Located in New York, NY
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...
Category

20th Century American Modern Art Dealers Association of America

Materials

Canvas, Oil

Lean To
By Martin Puryear
Located in San Francisco, CA
Edition of 50
Category

21st Century and Contemporary Art Dealers Association of America

Materials

Etching

Two Sailboats
By Cornelia Foss
Located in New York, NY
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...
Category

2010s Contemporary Art Dealers Association of America

Materials

Canvas, Oil

Queensborough Bridge, New York
By Louis Faurer
Located in New York, NY
Image size is 10 x 6.5 inches. Signed, titled and dated by the artist on verso.
Category

1940s Art Dealers Association of America

Materials

Silver Gelatin

Untitled
By Joan Nelson
Located in New York, NY
JOAN NELSON UNTITLED, 1984 egg tempera on masonite 24 x 18 in. 61 x 45.7 cm. signed and dated on verso landscape castle
Category

1980s Contemporary Art Dealers Association of America

Materials

Masonite, Egg Tempera

Homage to Shoji, No. 9
By Paul Cupido
Located in Santa Monica, CA
Signed, titled, dated in ink on photographer's label. Archival Pigments on unwashed Kozo Paper 23 x 28 cm Edition 1 of 10
Category

21st Century and Contemporary Art Dealers Association of America

Materials

Archival Pigment

Strawberries Strewn on a Forest Floor
By William Mason Brown
Located in New York, NY
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 ...
Category

19th Century American Realist Art Dealers Association of America

Materials

Canvas, Oil

UNTITLED (from the KINETIC PORTFOLIO)
By Eusebio Sempere
Located in New York, NY
serigraph, Edition of 100 image of abstract flower from KINETIC PORTFOLIO
Category

1970s Abstract Art Dealers Association of America

Materials

Screen

RECYCLER No. 2 BOTANICA PERSONAL
Located in New York, NY
Ruiz's Displacements series poignantly alludes to the tragedy of warfare and forced displacement in Colombia. By juxtaposing serene images of a man transporting his homeland in a can...
Category

21st Century and Contemporary Art Dealers Association of America

Materials

Acrylic

Untitled
By Paolo Serra
Located in New York, NY
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...
Category

2010s Abstract Geometric Art Dealers Association of America

Materials

Oil

ODYSEUSS TOUCHED BY ATHENA'S WAND
By Julie Hedrick
Located in New York, NY
small oil painting on canvas
Category

21st Century and Contemporary Contemporary Art Dealers Association of America

Materials

Oil, Canvas

"Des Artes Graphicas No. 1"
By Tim Rees
Located in Scottsdale, AZ
Timothy Rees was fascinated with drawing throughout his youth and after high school pursued a degree in animation. The pull to painting portraits and figures was strong, however, le...
Category

2010s Contemporary Art Dealers Association of America

Materials

Linen, Oil, Panel

Tuscany, Italy, 1956/Printed Later
By Edouard Boubat
Located in Santa Monica, CA
Signed in ink on recto; signed, titled & dated in pencil on verso Image 13-3/4" x 9-1/4", Paper 16" x 12", Matted 20" x 16"
Category

1950s Art Dealers Association of America

Materials

Silver Gelatin

GRAND PALEIA
By Hugo Bastidas
Located in New York, NY
Oil painting on linen of chandelier in overgrown forest. nature trees landscape surreal
Category

21st Century and Contemporary Contemporary Art Dealers Association of America

Materials

Linen, Oil

Still Life with Tiger and Fox
By Mary Vernon
Located in Dallas, TX
"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...
Category

2010s Contemporary Art Dealers Association of America

Materials

Board, Oil, Paper

Banana Split
By Sharon Core
Located in New York, NY
From Sharon Core's series Oldenburgs, which playfully explores the sculptural work of Claes Oldenburg.
Category

2010s Art Dealers Association of America

Materials

Archival Pigment

LA PORTE (THE DOOR)
By Antoni Tàpies
Located in New York, NY
aquatint and embossing on paper. plate 19 3/4 x 13 3/4 in. paper 30 3/4 x 23 in.
Category

Late 20th Century Abstract Art Dealers Association of America

Materials

Aquatint

Haru, 2023
By Paul Cupido
Located in Santa Monica, CA
Signed, titled, dated in ink on photographer's label. Archival pigment print on Kozo Paper Image/Paper: 12" x 8" AP 1
Category

2010s Art Dealers Association of America

Materials

Archival Pigment

Lily and Bird
By Joseph Stella
Located in New York, NY
Silverpoint and colored pencil on paper, 29 x 23 in. Signed (at lower right): Joseph Stella Executed about 1919 EXHIBITED: Hirschl & Adler Galleries, New York, November 23, 1985–January 4, 1986, American Masterworks on Paper: Drawings, Watercolors, and Prints, pp. 6, 46 no. 47 illus. // (probably) Richard York Gallery, New York, October 5–November 17, 1990, Joseph Stella: 100 Works on Paper, no. 36 EX COLL.: [Dudensing Galleries, New York]; sale, Christie’s, New York, December 7, 1984, lot 324; [Hirschl & Adler Galleries, New York, 1984]; to private collection, 2006 until the present An independent-minded artist who adhered to the credo “Rules don’t exist,” Joseph Stella explored a range of styles, media, and themes, willfully ignoring the “barricades erected by ... [the] self-appointed dictators” of the art establishment (Joseph Stella, “On Painting,” Broom 11 [December 1921], pp. 122–23; Joseph Stella, “Discovery of America: Autobiographical Notes,” Art News 59 [November 1960], p. 41). By doing so, he produced a diverse and highly eclectic body of work, ranging from realist figure subjects, pulsating Futurist cityscapes, and modernist religious...
Category

Early 20th Century American Modern Art Dealers Association of America

Materials

Paper, Color Pencil

Anne Saint-Marie, New York, Chanel Advertising Campaign
By Lillian Bassman
Located in Santa Monica, CA
signed and number in pencil on verso
Category

Mid-20th Century Art Dealers Association of America

Materials

Silver Gelatin

Table by the Window
By Edmund Quincy
Located in New York, NY
Estate stamp (on back, on original stretcher): Estate of/ Edmund Quincy/ 1903-1997 ///
Category

20th Century American Realist Art Dealers Association of America

Materials

Canvas, Oil

Excavation
By Charles Houghton Howard
Located in New York, NY
Charles Houghton Howard was born in Montclair, New Jersey, the third of five children in a cultured and educated family with roots going back to the Massachusetts Bay colony. His father, John Galen Howard, was an architect who had trained at M.I.T. and the École des Beaux Arts in Paris, and apprenticed in Boston with H. H. Richardson. In New York, the elder Howard worked for McKim, Mead and White before establishing a successful private practice. Mary Robertson Bradbury, Charles’s mother, had studied art before her marriage. John Galen Howard moved his household to California in 1902 to assume the position of supervising architect of the new University of California campus at Berkeley and to serve as Professor of Architecture and the first Dean of the School of Architecture (established in 1903). The four Howard boys grew up to be artists and all married artists, leaving a combined family legacy of art making in the San Francisco Bay area that endures to this day, most notably in design, murals and reliefs at the Coit Tower and in buildings on the Berkeley campus. Charles Howard graduated from the University of California at Berkeley in 1921 as a journalism major, and pursued graduate studies in English at Harvard and Columbia Universities before embarking on a two-year trip to Europe. Howard went to Europe as a would-be writer. But a near-religious experience, seeing a picture by Giorgione in a remote town outside of Venice, proved a life-altering epiphany. In his own words, “I cut the tour at once and hurried immediately back to Paris, to begin painting. I have been painting whenever I could ever since” (Charles Howard, “What Concerns Me,” Magazine of Art 39, no. 2 [February 1946], p. 63). Giorgione’s achievement, in utilizing a structured and rational visual language of art to convey high emotion on canvas, instantly convinced Howard that painting, and not literature, offered the best vehicle to express what he wanted to say. Howard returned to the United States in 1925, confirmed in his intent to become an artist. Howard settled in New York and supported himself as a painter in the decorating workshop of Louis Bouché and Rudolph Guertler, where he specialized in mural painting. Devoting spare time to his own work, he lived in Greenwich Village and immersed himself in the downtown avant-garde cultural milieu. The late 1920s and early 1930s were the years of Howard’s art apprenticeship. He never pursued formal art instruction, but his keen eye, depth of feeling, and intense commitment to the process of art making, allowed him to assimilate elements of painting intuitively from the wide variety of art that interested him. He found inspiration in the modernist movements of the day, both for their adherence to abstract formal qualities and for the cosmopolitan, international nature of the movements themselves. Influenced deeply by Surrealism, Howard was part of a group of American and European Surrealists clustered around Julien Levy. Levy opened his eponymously-named gallery in 1931, and rose to fame in January 1932, when he organized and hosted Surrealisme, the first ever exhibition of Surrealism in America, which included one work by Howard. Levy remained the preeminent force in advocating for Surrealism in America until he closed his gallery in 1949. Howard’s association with Levy in the early 1930s confirms the artist’s place among the avant-garde community in New York at that time. In 1933, Howard left New York for London. It is likely that among the factors that led to the move were Howard’s desire to be a part of an international art community, as well as his marriage to English artist, Madge Knight...
Category

20th Century American Modern Art Dealers Association of America

Materials

Canvas, Oil

Two Wood Ducks on a Flowering Branch
By Joseph Stella
Located in New York, NY
Joseph Stella was a visionary artist who painted what he saw, an idiosyncratic and individual experience of his time and place. Stella arrived in New York in 1896, part of a wave of Italian immigrants from poverty-stricken Southern Italy. But Stella was not a child of poverty. His father was a notary and respected citizen in Muro Locano, a small town in the southern Appenines. The five Stella brothers were all properly educated in Naples. Stella’s older brother, Antonio, was the first of the family to come to America. Antonio Stella trained as a physician in Italy, and was a successful and respected doctor in the Italian community centered in Greenwich Village. He sponsored and supported his younger brother, Joseph, first sending him to medical school in New York, then to study pharmacology, and then sustaining him through the early days of his artistic career. Antonio Stella specialized in the treatment of tuberculosis and was active in social reform circles. His connections were instrumental in Joseph Stella’s early commissions for illustrations in reform journals. Joseph Stella, from the beginning, was an outsider. He was of the Italian-American community, but did not share its overwhelming poverty and general lack of education. He went back to Italy on several occasions, but was no longer an Italian. His art incorporated many influences. At various times his work echoed the concerns and techniques of the so-called Ashcan School, of New York Dada, of Futurism and, of Cubism, among others. These are all legitimate influences, but Stella never totally committed himself to any group. He was a convivial, but ultimately solitary figure, with a lifelong mistrust of any authority external to his own personal mandate. He was in Europe during the time that Alfred Stieglitz established his 291 Gallery. When Stella returned he joined the international coterie of artists who gathered at the West Side apartment of the art patron Conrad Arensberg. It was here that Stella became close friends with Marcel Duchamp. Stella was nineteen when he arrived in America and studied in the early years of the century at the Art Students League, and with William Merritt Chase, under whose tutelage he received rigorous training as a draftsman. His love of line, and his mastery of its techniques, is apparent early in his career in the illustrations he made for various social reform journals. Stella, whose later work as a colorist is breathtakingly lush, never felt obliged to choose between line and color. He drew throughout his career, and unlike other modernists, whose work evolved inexorably to more and more abstract form, Stella freely reverted to earlier realist modes of representation whenever it suited him. This was because, in fact, his “realist” work was not “true to nature,” but true to Stella’s own unique interpretation. Stella began to draw flowers, vegetables, butterflies, and birds in 1919, after he had finished the Brooklyn Bridge series of paintings, which are probably his best-known works. These drawings of flora and fauna were initially coincidental with his fantastical, nostalgic and spiritual vision of his native Italy which he called Tree of My Life (Mr. and Mrs. Barney A. Ebsworth Foundation and Windsor, Inc., St. Louis, illus. in Barbara Haskell, Joseph Stella, exh. cat. [New York: Whitney Museum of American Art, 1994], p. 111 no. 133). Two Wood Ducks...
Category

20th Century American Modern Art Dealers Association of America

Materials

Color Pencil

Menilmontant (Devant chez Mestre)
By Willy Ronis
Located in Santa Monica, CA
Ménilmontant [Devant Chez Mestre], 1957/Printed Later Titled & dated in pencil with the photographer's stamp on verso; Signed in ink on recto Gelatin silver print Image 12-1/2" x 10-...
Category

1950s Art Dealers Association of America

Materials

Silver Gelatin

Untitled (Airport Paris)
By Peter Fischli & David Weiss
Located in New York, NY
Peter Fischli / David Weiss Untitled (Airport Paris) 2008 Offset lithograph on three sheets Each sheet: 51 1/4 x 32 5/8 inches; 130 x 83 cm Edition of 100 Signed and numbered in ink ...
Category

Early 2000s Contemporary Art Dealers Association of America

Materials

Lithograph

Still Life
Located in New York, NY
Signed (at lower right): Bailey 1977
Category

Late 20th Century Contemporary Art Dealers Association of America

Materials

Paper, Pencil

WHITE HINGED POEM DRESS (#3)
By Lesley Dill
Located in New York, NY
LESLEY DILL WHITE HINGED POEM DRESS (#3), 1993 mixed media paper construction Framed: 22 1/2 x 17 1/2 in Edition of 20 signed, dated and numbered 12...
Category

1990s Contemporary Art Dealers Association of America

Materials

Paper

Irish Dancehall, The Bronx, 1954 (printed 2006)
By George S. Zimbel
Located in Santa Monica, CA
Signed in ink on recto; Signed, titled and dated in pencil on verso Image: 7-3/4 x 12"; Paper: 10-3/4 x 13-3/4"; Mat 16 x 20"
Category

1950s Art Dealers Association of America

Materials

Silver Gelatin

Still Life with Apples
By William Rickarby Miller
Located in New York, NY
Signed and dated (at lower left): W. R. Miller 1891; (at lower right): No. 10
Category

Late 19th Century American Realist Art Dealers Association of America

Materials

Canvas, Oil

"Coral"
By Ron Hicks
Located in Scottsdale, AZ
Born in Columbus, Ohio, in 1965, Ron Hicks was an avid artist from an early age. Hicks began his formal studies in art at the Columbus College of Art and Design in Ohio. Hicks contin...
Category

2010s Contemporary Art Dealers Association of America

Materials

Oil, Wood Panel

Still Life with Polykleitian Head and Candles (Idea)
By David Ligare
Located in New York, NY
Signed and dated (at lower right): L; (on verso): D. Ligare / 2018
Category

2010s Contemporary Art Dealers Association of America

Materials

Canvas, Oil

Vase aux orchidées
By Laurent Schkolnyk
Located in Dallas, TX
This is a three-plate color mezzotint. The mat dimensions are 20 x 16 inches. Signed "Schkolnyk" at lower right.
Category

Late 20th Century Art Deco Art Dealers Association of America

Materials

Mezzotint

Slippery Pink
By Allison Gildersleeve
Located in Dallas, TX
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 ...
Category

2010s Contemporary Art Dealers Association of America

Materials

Canvas, Oil

Search for Sattva, Ahhichatragarh Fort, Nagaur
By Karen Knorr
Located in New York, NY
Listing includes framing with UV Plexi, Free shipping, and a 14 day return policy. Also available for local pick up in New York City. The Search for Sattva, Ahhichatragarh Fort (2014) by Karen Knorr 24 x 30 inches (27 x 33 inches framed) Archival pigment print Edition 2 of 5 Signed on artist certificate and acquired directly from the artist. 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...
Category

2010s Art Dealers Association of America

Materials

Photographic Paper, Color, Pigment, Archival Pigment

Golden Rod and other Wildflowers
By John Ross Key
Located in New York, NY
Signed (at lower right): John Ross Key 1882
Category

Late 19th Century American Realist Art Dealers Association of America

Materials

Canvas, Oil

Stairs at Montmartre, Paris, 1926
By Andre Kertesz
Located in Santa Monica, CA
Signed in pencil on recto Gelatin silver print Image/Paper: 3" x 3-3/4", Mount: 12" x 9", Mat 20" x 16"
Category

1920s Art Dealers Association of America

Materials

Silver Gelatin

South Island Wren (Suspended)
By Elizabeth Turk
Located in New York, NY
Mahogany
Category

2010s Contemporary Art Dealers Association of America

Materials

Wood

A Moment of Solitude, Amer Fort, Amer
By Karen Knorr
Located in New York, NY
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...
Category

2010s Art Dealers Association of America

Materials

Photographic Paper, Color, Archival Pigment

Cello Study
By Andre Kertesz
Located in New York, NY
This image measures 9 3/4 x 2 inches, on a 10 x 8 inch sheet. It is signed and date by the artist on verso, and notated "Paris." The print was made no later than 1971. This elegant ...
Category

1920s Art Dealers Association of America

Materials

Silver Gelatin

JULIE HEDRICK RA (Egypt) Sun God
By Julie Hedrick
Located in New York, NY
JULIE HEDRICK RA (Egypt) Sun God, 2021 oil on canvas (diptych) 60 x 120 in. 152.4 x 304.8 cm.
Category

2010s Contemporary Art Dealers Association of America

Materials

Canvas, Oil

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