Art Dealers Association of America

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

In Anastasia Samoylova's "Breakfast With" series, photo books are splayed open and the iconic images therein mingle with the first meal of the day, reading as affectionate homages to...

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

Louisa Lizbeth Chase was born in 1951 to Benjamin and Wilda Stengel Chase in Panama City, Panama, where her father, a West Point graduate, was stationed. The family moved to Pennsylv...

Signed on verso

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...

Oil on canvas, 36 x 42 in. Signed, dated, and inscribed (at lower right): WILLIAM S. SCHWARTZ 1926; (on the back): “OLD COUNTRY BAZAAR” / BY / WILLIAM S. SCHWARTZ / 1926 RECORDED: C. H. Bonte, “122nd Annual opens at Pennsylvania Academy,” in The Philadelphia Inquirer, Jan. 30, 1927 EXHIBITED: The Art Institute of Chicago, 1926, The Thirty-Ninth Annual Exhibition of American Paintings and Sculpture, no. 174 // The Pennsylvania Academy of the Fine Arts, Philadelphia, 1927, The One-Hundred-and-Twenty Second Annual Exhibition, p. 37 no. 181 // The Chicago Culture Club...

11 x 14 inch gelatin silver print. Edition 15. Signed on verso. Kazuo Sumida first visited New York in 1995. He found the city to be one of “both bustle and silence,” particularly the underground world of the subway, where he encountered “a place full of characters.” By 2002, he had produced a large body of work of images taken in this subterranean metropolis – tender scenes of lovers and children; gritty portraits of beggars for whom the subway is home; artists, musicians, commuters, and others who pass through the tunnels on their daily journeys. The resulting monograph, A Story of the New York Subway, was published in 2002. Sumida was born in 1952 in Kochi Prefecture in southern Japan. Although photography was not his formal career, Sumida has pursued the art throughout his life. He graduated from Osaka Photography Graduate School in 1983, and also studied at the International Center of Photography in New York, on a fellowship from the Japanese Agency for Cultural Affairs. He lives in Japan, and continues to visit New York frequently. His work has been shown at the Tokyo Ginza Kodak Photo...

Samoylova's "Landscape Sublime" series explores how landscape imagery in contemporary culture is used to create constructed realities, wholly apart from our lived experiences. Samoyl...

Signed and dated (on verso): Diana Horowitz / 2014

Signed (at lower right): Louisa Chase

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...

Anodized aluminum (black)

45 x 55.5 inch pure pigment print (framed size) Signed, titled, dated and editioned on label verso Edition 15 (includes all sizes) Framed in a charcoal gray frame Luca Campigotto us...

42 x 42 inch digital chromogenic print Framed to 43 x 43 inches, with museum-quality non-reflective Optium plexi. #7 from the edition of 8 Signed, titled, dated and editioned on labe...

Larry Burrows Collection and copyright stamps on verso. Printed 2004

24 x 24 inch digital chromogenic print Edition 15 +3 AP Signed, titled, dated and editioned on frame label provided Neal Slavin, a native New Yorker, began photographing groups in 1...

40 x 60 inch mineral ink print, framed Signed on label verso Edition 5 Miguel Ángel García was born in Madrid in 1952, and currently lives and works in Cantabria, Spain. A visual ar...

40 x 50 inch type-c print, edition 10. Signed, titled, dated and editioned on label verso. SMALLER SIZES AVAILABLE - PLEASE INQUIRE. Toshio Shibata is one of Japan's leading landsc...

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

Louisa Lizbeth Chase was born in 1951 to Benjamin and Wilda Stengel Chase in Panama City, Panama, where her father, a West Point graduate, was stationed. The family moved to Pennsylv...

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

8 x 10 inch (image size) gelatin silver contact print, on an 11 x 14 inch sheet Edition 10. Signed and stamped on verso. Framing additional. Larger sizes available - please inqui...

Gilad Efrat Untitled, 2016 oil on canvas, 175 x 250 x 5 cm (68.9 x 98.4 x 2 in) This painting is part of new series of work by Israeli artist Gilad Efrat. The paintings comprise th...

Born in Brownsville, Texas, in 1955, Clare Kirkconnell spent a number of years in Mexico City before returning to Houston to finish high school. She developed an interest in the arts early on and continued her education at Palomar College in San Marcos, California. After college, Kirkconnell spent several years as a fashion model traveling the world from bases in New York and Paris. She concurrently studied acting, landing several film and television roles, including a three-year run as the female lead in the highly acclaimed drama The Paper Chase. Never abandoning her early interest in painting, Kirkconnell then continued her studies in at Santa Monica College and Otis Parsons School of Design. Her work has been consistently well-received and can be found in many important private collections. When not in the studio, Kirkconnell divides her time between her husband and son, the family wine business, “Hollywood and Vine...

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

Gilad Efrat Untitled, 2016 oil on canvas, 150 x 150 x 5 cm (59.1 x 59.1 x 2 in) This painting is part of new series of work by Israeli artist Gilad Efrat. The paintings comprise th...

Louisa Lizbeth Chase was born in 1951 to Benjamin and Wilda Stengel Chase in Panama City, Panama, where her father, a West Point graduate, was stationed. The family moved to Pennsylv...

13.25 x 18 inch digital chromogenic print Edition 15 + 3AP Signed, titled, dated and editioned on frame label provided Neal Slavin, a native New Yorker, began photographing groups i...

Rose, 2013 Chromogenic print, ed. 10, 12 x 12 inches image size, 16 x 20 inches paper size, 20 5/8 x 20 5/8 inches framed size. Amy Blakemore’s new photographs depict a variety o...

From the series ACT, in which the artist worked with young adults leading difficult lives, their bodies challenged by conditions such as Down’s Syndrome or cerebral palsy. His subjec...

Edgar Leciejewski Horizon VI, 2015 Edition 2 of 3 4 color prints on Alu-dibond with artist-designed framing with Museum Glass, ed 3 + 1 AP 30-1/4 x 44-1/2 inches overall installed dimension each individual framed photograph is 37.2 cm x 55.4 cm x 3 cm (12.87'' x 21.81'' x 1.18'' inch) In 2014 Edgar Leciejewski was an artist-in-residence at the Fogo Island...

Beth Secor, Elm Along The Bayou, 2014-2015 Ink, gouache and pencil on paper overall diptych 20 x 28 inches 20 x 14 inches each Beth Secor understands tr...

40 X 50 inch chromogenic print, edition 10. Framed to 49 x 58 inches, in white wood frame. Signed, titled, dated and editioned on label verso. Toshio Shibata is one of Japan's lead...

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...

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...

20 x 24 inch type-c print Edition 10. Signed on verso. Throughout her career, photographer Yoko Ikeda has been finding poetry in the prosaic, and mystery in the mundane. Her photog...

Dana Frankfort In the middle of the road, 2017 oil on canvas over panel 48 x 48 x 1.75 inches For over two decades, Dana Frankfort has explored the vexing periphery between language and sight by painting words. Rather than laying claim to the paintings, controlling their semiotic pulse, her words serve as the formal armature; they prop up, ventilate, and allow the many layers of paint to breathe. Imperatives, allusions, evocations—the words dissolve into a palimpsest of obscured serifs and stems, into color and form. The title of the work is a phrase from a poem by Carlos Drummond de Andrade’s “In the Middle of Road.” Here it is, translated from the Portuguese by Elizabeth Bishop...

Louisa Lizbeth Chase was born in 1951 to Benjamin and Wilda Stengel Chase in Panama City, Panama, where her father, a West Point graduate, was stationed. The family moved to Pennsylv...

Signed and dated (on verso): Diana Horowitz 2011

Signed (at lower right): FJK

Signed (at lower right): FJK

Signed and dated (on top edge of canvas): Robert Minervini 19

Robert Ruello Switch-It #7, 2016 graphite, watercolor, and colored pencil on paper 20 x 15 inches Energetic and charged with visual power, the Switch-It series is movement and transition visualized. Ruello’s formal investigation of how we move through and disrupt various environments (digital, analog, and in-between) is rendered through these graphic elements. As he notes, “As a result of this disruption, the array is no longer stable or predictable — visual illusions and shifting figure/ground relationships begin to emerge.” Ruello’s work stems from an enjoyment in the tension between the stable and the unpredictable. Though not figural, his work presents elements that are recognizable from our visual vernacular. Digital screens, popular science...

Robert Ruello Switch-It #9, 2016 graphite, watercolor, and colored pencil on paper 20 x 15 inches Energetic and charged with visual power, the Switch-It series is movement and transition visualized. Ruello’s formal investigation of how we move through and disrupt various environments (digital, analog, and in-between) is rendered through these graphic elements. As he notes, “As a result of this disruption, the array is no longer stable or predictable — visual illusions and shifting figure/ground relationships begin to emerge.” Ruello’s work stems from an enjoyment in the tension between the stable and the unpredictable. Though not figural, his work presents elements that are recognizable from our visual vernacular. Digital screens, popular science...

20 x 24 inch type-c print Edition 10. Signed on verso. Throughout her career, photographer Yoko Ikeda has been finding poetry in the prosaic, and mystery in the mundane. Her photog...

Image size: 24 x 12 inches Edition of 30

2009, color woodblock print on Hahnemuhle paper, 31 1/4 x 30 1/2 inches, edition of 30

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...

mounted to 15 x 18 matte signed, titled and dated in pencil on mount

Sammallahti describes himself as a nomad who enjoys the nature of the great north: the darkness, the cold, and the sea. Sammallahti is a master craftsman, carefully toning his prints...

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

Brice Marden Distant Muses 2000 Screenprint 23 1/2 x 19 1/8 inches; 60 x 49 cm Edition of 300 Signed, dated, and numbered in graphite (lower recto) Frame available upon request Available from Matthew Marks...

Over the past forty years, Malou Flato’s paintings have focused on the Texas landscape—its native flowers, blooming cactus, diverse citizenry, and especially its precious water and abundant sky. Flato has a studio in Austin and another on her great-grandfather’s ranch on the southwestern shoulder of the Hill Country, in Edwards County. “Texas is my inspiration,” she says. “I have made my life here, and I would like to think that my art reflects the place I know best.” Malou Flato’s works can be seen in many public places in Texas and beyond. They enliven a border crossing...

"The comment I hear most often about my paintings is 'happy'". I've loved art all of my life and it warms my heart to know that I'm able to pass that love and joy on to others. I use...

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

There is a quiet sophistication in Milt Kobayashi’s painted canvases, summoning a pensive, ethereal feeling in the viewer. Kobayashi’s subjects are people from another time and place...

Richard Tuttle Metal Shoes 4, 2010 Aquatint, hand stencling, copper plate embossment 11 3/4 x 12 ed. 30 Framed