Art Dealers Association of America

Thomas Fransioli, born in 1906 in Seattle, Washington, trained as an architect at the University of Pennsylvania. He worked as an architect before his service in World War II. Largel...

Francis Chapin was one of the most celebrated painters in Chicago during his lifetime. When he was a young art student, Valley House founder, Donald Vogel, painted with "Chape" on th...

"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 ...

Listing includes framing with UV plexiglas, free shipping and a 14 day return policy. Lora Webb Nichols 15 x 12 inch gelatin silver print Image Size: 14 x 8.5 inches frame size: 22.5 x 17.5 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...

Vera Barnett has taken on a range of themes in her works, producing multiple series of paintings inspired by phobias, famous artworks, or most recently the written word in her exhibi...

“What he has learned from the art of the museums, Cobb has fully assimilated and modified in the development of his own personal vision. And while enriched by these historical perspe...

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...

Denis Darzacq's "Fake Stars" series present images of sky views with odd points of light - stars? UFO's? satellites? One's imagination can create a story behind these, but the artist...

Signed and dated (at lower right): MOORE 21

Bob Stuth-Wade: Tribute to Morandi, 2018 "Life is what happens while I'm thinking of something else." "Driving. Listening to the radio. Talking on the phone. Thinking of where I'm ...

Listing includes free shipping, and a 14 day return policy. The artwork will ship from London. Immaculate Conception, Villa De'este (2015) 24 ...

The sculpture is painted cast plaster. The dimensions are for the painted cast plaster. The black base dimensions are 2 x 10 x 10 inches. About this body of work: “Everybody has that feeling when they look at a work of art and it’s right, that sudden familiarity, a sort of...recognition, as though they were creating it themselves, as though it were being created through them while they look at it or listen to it...” ―William Gaddis, "The Recognitions" “A great deal of my recent work was made during a time when I was reading the great American novel by William Gaddis, "The Recognitions," the most demanding book I’ve ever read. Along the way, I extracted sentence fragments that interested me and I pieced them together to make the titles for the last three years of my work. So, my recent work is linked to Gaddis’ novel through the titles, but also in the theme of “recognition,” which speaks to the nature of my work. I feel my way through various processes until I recognize a possibility―a possibility that is promising in terms of visual dynamics but also in terms of giving a body to some part of my experience. It is my hope that the viewer is compelled to recognize some part of themselves reflected in the work.” —Michael O’Keefe Michael O’Keefe earned his MFA from SMU and currently teaches at The O’Keefe Studio Center in Richardson, Texas. This sculpture was included in "Recognitions," his fifth solo exhibition at Valley House...

"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...

Archival pigment print. Framing available at additional cost. Signed, titled, dated and editioned on label verso. In the latest series by Simone Rosenbauer, entitled Like Ice in the Sunshine...

Signed (on stretcher): Stanley Twardowicz Stanley Twardowicz (1917–2008), a one-time orphan, Golden Gloves boxer, professional baseball player and auto worker, emerged from a hards...

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...

From the acclaimed series "LA Day (2004)", this photograph by Michael Light is available as a 40 x 50 inch editioned print of the Golden State Freeway Looking Southeast Over Fernando Pass. Listing includes framing ($1,000 value with non-glare museum glass), free shipping to the continental US, and a 14 day return policy. Michael Light Golden State Freeway Looking Southeast Over Fernando Pass, 2004 Image Size: 40 x 50 inches Frame Size: 42 x 52 x 2 inches Edition 3 of 10 Signed and editioned on verso Artist Biography - Michael Light was born in 1963. The pre-eminent aerial photographer of his generation, he is the recipient of a Guggenheim Fellowship for photography and his work is in the collections of major museums from SF MoMA to the Victoria and Albert. Prior to taking up aerial photography, Light conceived of and put together the book Full Moon - the first look at NASA photography as fine art - and a project which was published in multiple editions selling several hundred thousand copies around the world. In a way Full Moon had a bearing on Light's subsequent aerial work, as he continues to see and explore the terrestrial world much as the astronauts saw the moon. For the last 15 years Light has been flying his own small aircraft primarily over the American West investigating how both man and nature make their mark on the landscape. To date Light has completed 18 separate Western projects - each of which comprises an oversize handmade artist's book as well as more traditional prints. Largely documenting the impact of man and industry on the land (but not immune to the sublime) Light's subjects range from Utah's gold and copper mines and the (over)development of places like Sun City, AZ and Lake Las Vegas, NV to contrasting Arizona's Meteor Crater - the largest meteoric impact site in the Americas - with James Turrell's Roden Crater...

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

"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. Gibson ...

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 panels, he created about sixty scenes of daily life, among them this sparkling portrayal of a young woman dressed in a traditional kimono and carrying a baby on her back, a paper parasol...

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

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 ...

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...

Francesca Woodman, Providence, Rhode Island (1976) photographed by George Lange. 11 x 14" archival pigment print 17 x 21 x 2" frame with UV plexgia...

With an irreverent eye, Vera Barnett selects everyday objects which remind her of other things: a pepper under a light bulb becomes a reclining sunbather, and a radish becomes a plum...

“What he has learned from the art of the museums, Cobb has fully assimilated and modified in the development of his own personal vision. And while enriched by these historical perspe...

Listing includes free shipping for unframed prints in the continental US and a 14-day return policy. Please inquire for framing options. We offer framing from our New York and Los Angeles gallery...

"The art I make does not tell a direct story, but prompts one to find things truly unseen. The works develop through intuitive improvisations, actions upon surface, and lines perpetu...

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.

This is a three-plate color mezzotint. The mat dimensions are 20 x 16 inches. Signed "Schkolnyk" at lower right.

Signed (lower right): Quincy

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 Tina Chow. 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...

Listing includes framing with UV plexiglas. Joan Didion by Julian Wasser Silver gelatin print Image Size: 11 x 8 inches Frame Size: 17 x 14 x 2 inches Edition 11 of 15 Signed on verso by Julian Wasser Please note the frame is in good condition. The print is in mint condition. Artist Biography - Julian Wasser started his career in photography in the Washington DC bureau of the Associated Press where he met and accompanied the famous news photographer Weegee – who would become a lasting influence on him. In the mid-60s Wasser moved to Los Angeles as a contract photographer for TIME, LIFE, and FORTUNE magazines and becoming internationally known as the go to guy for getting candid but memorably composed photographs. (His iconic images of Jack Nicholson and Anjelica Huston; Marcel Duchamp and Eve Babitz...

Walking down a forgotten country lane, littered with stones and broken limbs, carpeted with the new growth of spring, I am exhilarated by warm days and the end of a long winter. I’m ...

Epic Western No. 37 by Jim Krantz. Price includes framing with U.V. lamination in a raw walnut frame ($1,500 cost). 40 x 60 inch chromogenic print Edition 2 of 7 Signed on signature label Artist Biography Krantz occupies a unique place in the history of contemporary art for his imagery blending western landscape photography with the figure of the cowboy as depicted and romanticized in American popular culture. The technical underpinning of his work was established when he studied with Ansel Adams and Paul Caponigro, but perhaps more importantly, Krantz’s work reflects a dictum that he learned from Adams: “Technical proficiency leads to artistic freedom.” His range and versatility are his forte, working with ease in demanding and ever-changing conditions. If Krantz’s work looks familiar, it is not surprising. Krantz, had been documenting the cinematic vistas of the American West for 20 years on commercial assignments and these much published images caught the eye of appropriation artist, Richard Prince, known for re-photographing advertisements and presenting the resulting images in a new “conceptual” context. Prince’s most famous series is his large scale reproductions of the cowboy images from Marlboro ads, and in something of an ironic compliment, when Prince had his mid-career retrospective at the Guggenheim Museum not only were Krantz’s re-photographed images included in the exhibit but the image on all the banners flying along 5th Avenue was also one of Krantz’s. All uncredited. Krantz’s art has been embraced by the worlds of fashion and popular culture with collaborations with Supreme, Adam Kimmel...

Listing includes framing with UV plexi and a 14 day return policy. This is available for pick up framed at Los Angeles gallery at no additional charge. For transport the US and internationally, please inquire for more details. Kate Moss by Glen Luchford...

A professor of painting at Southern Methodist University since 1984, Barnaby Fitzgerald spent his childhood in Italy where he earned a printmaking degree in Urbino. He received a BFA...

Matt Magee Water Margin, 2023 Lithograph 24 1/4 x 18 3/4 in (61.6 x 47.6 cm) Edition of 20

LeWitt has been the subject of hundreds of solo exhibitions in museums and galleries worldwide since 1965. A leading figure of the Conceptual and Minimalist movements, his prolific ...

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...

"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...

Edition of 7 "Benchwork" is part of Wegman's artistic exploration of photography and staged scenes. The artwork is representative of Wegman's distinctive approach to photography, wh...

Working in his open-air studio, Miles Cleveland Goodwin is deeply in touch with the rural landscape. Goodwin’s ruminative portrayals, full of earthy metaphor and soulful intuition, e...

“Anne Weary, who grew up as a Texas cowgirl, is at home in the outdoors and knows its ways and its language. There is a sort of very quiet but very powerful mysticism in her work, a sense of presence that goes quite beyond words,” writes poet and University of Texas at Dallas professor Frederick Turner in the American Arts Quarterly. Dallas born Weary studied under Olin Travis, Octavio Medellin and Chapman Kelley before earning a 4 year certificate from the Pennsylvania Academy of Fine Arts with awards for excellence in drawing. In 2008, Weary left Texas for a three year sabbatical in Southern California where she began drawing in Torrey Pines...

Robert Cottingham's Rolling Stock series is a significant part of his artistic portfolio, focusing on railroad imagery. The series features hand-colored etchings, collographs, and mo...

Amy Weiskopf was born in Chicago in 1957, and received her M.F.A. from the Tyler School of Art, Temple University, PA. Though Weiskopf is a master of the still life genre, her painti...

Listing includes framing with UV plexi ($1,000 value), free shipping for the continental US and a 14 day return policy. Also available for local pick up at our New York City galler...

This listing includes framing ($1,750 value) and a 14-day return policy. Shipping will be charged at cost with a white glove delivery service. Also available for local pick up at our New York City gallery. The Way of Ishq (2019) by Karen Knorr. Archival pigment print Image size: 48 x 60 inches Frame Size: 52 x 64 inches framed Edition 2 of 5 Signed, with certificate of authenticity 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...

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

"My work is about respecting the beauty that remains and the poetry that is found." - David H. Gibson David H. Gibson is a lifelong photographer whose first contact with the mediu...

John Cobb knew he wanted to be an artist since he was 9. In 1976, he entered Rhode Island School of Design where his realist tendencies were ostracized. Using the money intended for ...

This is acrylic on five panels in three interlocking frames

"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 ...

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

Darren Almond 69th Parallel 2 2005 Gelatin silver print mounted on aluminum in artist's frame 37 x 47 inches; 94 x 120 cm Edition of 5 Signed in ink (verso) Available from Matthe...

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...

David A. Dreyer was born in Dallas in 1958, and earned his BFA and MFA at Southern Methodist University. He was a recipient of the Moss/Chumley Award from the Meadows Museum and has ...

"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...

Listing includes framing with UV plexi, free shipping in the US, and 14-day return policy. Corinne Vionnet Mecca from the series "Photo Opportunities" 15 x 20 inch archival pigmen...

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