Adaa Art Dealers Association Of America Paintings

Liz Tran was born in Eugene, Oregon in 1979. In 2000, Tran moved to Seattle to attend Cornish College of the Arts and graduated in 2002 with a Bachelor of Fine Art in Print Art and P...

Signed (on verso): Stanley Twardowicz

Bright Shores, 2020 Oil on linen 34 x 47 inches

Otis Huband begins his work with no preconceived ideas, but rather to discover what will reveal itself. He states, "I work from the inside out rather than from the outside in. I do n...

Signed and dated (at lower right): L; (on verso): D. Ligare / 2014

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. “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...

Signed and dated (on verso): Robert Minervini 2019

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

oil painting on gessoed paper. trees, nature, green, landscape

Signed and dated (on verso): "Angela Fraleigh 2021"

Signed and dated (on verso): Angela Fraleigh 2021

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 ...

David Aylsworth (born 1966, Tiffin, OH) earned a BFA from Kent State University in 1989 and was an artist resident at the Core Program, Museum of Fine Arts, Houston, from 1989-1991. ...

Signed and dated (at lower right): L; (on verso): D. Ligare / 2018

Peregrine Heathcote’s paintings conjure a world of intoxicating glamour and intrigue, slipping across the boundaries of time to fuse iconic pre-war design with modern conceptions of ...

Signed (at lower right): L; (on verso): David Ligare

Signed "P. Bisiaux" at lower right The overall dimensions, including the frame, are 29 x 34 7/8 inches

Signed and dated (at lower left): W. R. Miller 1891; (at lower right): No. 10

Signed and dated (on verso): Angela Fraleigh 2021

David Aylsworth (born 1966, Tiffin, OH) earned a BFA from Kent State University in 1989 and was an artist resident at the Core Program, Museum of Fine Arts, Houston, from 1989-1991. ...

VALERIE HIRD FLIGHT, 2020 watercolor, Arches paper 23 x 46 in. 58.4 x 116.8 cm. mythology

VALERIE HIRD BREAK IN THE HORIZON, 2019 oil, monotypes, gesso, Arches paper, silver leaf, silver amulet 23 1/2 x 22 in. 59.7 x 55.9 cm. mythology

Jim Richard (born 1943, Port Arthur, TX) received a BFA from Lamar State College of Technology, Beaumont, TX (1965) and an MFA from the University of Colorado (1968). He has exhibite...

Jim Richard (born 1943, Port Arthur, TX) received a BFA from Lamar State College of Technology, Beaumont, TX (1965) and an MFA from the University of Colorado (1968). He has exhibite...

Signed and dated (on verso): Angela Fraleigh 2021

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): Angela Fraleigh 2021

David Aylsworth (born 1966, Tiffin, OH) earned a BFA from Kent State University in 1989 and was an artist resident at the Core Program, Museum of Fine Arts, Houston, from 1989-1991. ...

David Aylsworth (born 1966, Tiffin, OH) earned a BFA from Kent State University in 1989 and was an artist resident at the Core Program, Museum of Fine Arts, Houston, from 1989-1991. ...

David Aylsworth (born 1966, Tiffin, OH) earned a BFA from Kent State University in 1989 and was an artist resident at the Core Program, Museum of Fine Arts, Houston, from 1989-1991. ...

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

David Aylsworth (born 1966, Tiffin, OH) earned a BFA from Kent State University in 1989 and was an artist resident at the Core Program, Museum of Fine Arts, Houston, from 1989-1991. ...

Jim Richard (born 1943, Port Arthur, TX) received a BFA from Lamar State College of Technology, Beaumont, TX (1965) and an MFA from the University of Colorado (1968). He has exhibite...

Signed and dated (at lower right): MOORE '18

Signed (at lower right): A. WEISKOPF

Signed and dated (on verso): Angela Fraleigh 2021

Signed and dated (on verso): Angela Fraleigh 2021

Lauded by critics and collectors alike, the art of Gary Ernest Smith resonates in the mind and memory of contemporary America. Over the past years the artist’s one-man shows have att...

Signed (at lower right): John Ross Key 1882

Charles Caleb Ward was born in St. John, New Brunswick, Canada, the grandson of a New York Ward who had left for New Brunswick around the time of th...

David Aylsworth (born 1966, Tiffin, OH) earned a BFA from Kent State University in 1989 and was an artist resident at the Core Program, Museum of Fine Arts, Houston, from 1989-1991. ...

David Aylsworth (born 1966, Tiffin, OH) earned a BFA from Kent State University in 1989 and was an artist resident at the Core Program, Museum of Fine Arts, Houston, from 1989-1991. ...

David Aylsworth (born 1966, Tiffin, OH) earned a BFA from Kent State University in 1989 and was an artist resident at the Core Program, Museum of Fine Arts, Houston, from 1989-1991. ...

Signed and dated (at lower right): J. STONE ROBERTS./ 2004.

Signed and dated (on verso): Angela Fraleigh 2021

Jim Richard (born 1943, Port Arthur, TX) received a BFA from Lamar State College of Technology, Beaumont, TX (1965) and an MFA from the University of Colorado (1968). He has exhibite...

David Aylsworth (born 1966, Tiffin, OH) earned a BFA from Kent State University in 1989 and was an artist resident at the Core Program, Museum of Fine Arts, Houston, from 1989-1991. ...

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 wood panels, he created about sixty scenes of daily life, among them this picturesque vignette of a Japanese tea garden...

Ron Hick on Thirsty: "Thirsty" slips into the identity side of how I see things. This is taking my experiences and emotions as a victim of racial profiling and putting them in a box...

Signed and dated (at lower right): MOORE '19

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 ...

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...

William John Hennessy was born in Ireland. He came to America in 1849 with his mother and brother a year after his father had fled their homeland after taking part in the unsuccessful Young Ireland Party uprising. The Hennessys settled in New York, and when young William came of age, he decided upon a career as an artist. At the age of fifteen, he enrolled at the National Academy of Design, where he learned to draw from the antique, and the following year he was granted admission to the Academy’s life-drawing class. Hennessy first exhibited at the National Academy in 1857, starting a continuous run of appearances in their annuals that lasted until 1870, when he expatriated himself to Europe. During his time in America, Hennessy was principally known as a genre painter and prolific illustrator for such publications as Harper’s Weekly and a number of books, including illustrated works of William Cullen Bryant...

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, as well as t...

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...

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

Signed and dated (at lower left): Randall Exon 07

acrylic painting on canvas of people dressed in their Sunday clothing