Adaa Art Dealers Association Of America Paintings

Romona Youngquist was born on January 11, 1960 in Yuba City, California, but grew up in Eastern Oklahoma. Youngquist essentially started out in life as a child of nature, spending her time exploring the woods with her dog and collecting critters. While exploring, she also studied the design and color of nature. She recalls many times standing in a field just staring in fascination at the values of the deciduous trees against a dark Oklahoma sky before a storm then rushing home to draw what she had seen. Technically self-taught, she thinks of nature as her real teacher. In 1994 she was awarded a grant from the Alaska State Council for the Arts to study with Oregon landscape painter Michael Gibbons. In the late 1990’s she studied with Michael Workman, a leading Landscape painter from Utah. She has taken their valuable lessons and strengthened her own individual style. Romona also admires the work of Russell Chatham, Emil Carlson...

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 ...

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

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 Nippon (which means, “The Land of the Rising Sun”), Moore spent time in locales such as 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 depiction of an interior of a dwelling. The location of the view is unknown, but the presence of a rustic rail fence demarcating a yard bordering a distant house flanked by tall trees, shrubs and some blossoming fruit trees, suggests that the work likely portrays a building in a city suburb or a small village. In his book, Japanese Homes and Their Surroundings, Edward S. Morse (an American zoologist, orientalist, and “japanophile” who taught at Tokyo Imperial University from 1877 to 1879, and visited Japan again in 1891 and 1882) noted the “openness and accessibility of the Japanese house...

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...

John Schieffer graduated in 1995 from Paier College of Art in Hamden, Connecticut with a Bachelor of Fine Arts degree. The salutatorian entered the world of illustration at Mercer Mayer Productions as a children’s book illustrator. It was a job where he used his artistic abilities although it was not an outlet for a serious painting career. (He has a written and illustrated a book of his own that is awaiting a publisher). John then worked in the field of graphics at Leslie Roy...

Miles Cleveland Goodwin says, "I don’t like to do things I don’t know." Not unlike the spirit of Southern literature and Delta blues music, there is an autobiographical nature to his...

signed "Ike Edward Morgan" at lower left

Signed on back

Signed and dated (on verso): Robert Minervini 2019

Vera Barnett has taken on a range of themes in her works, producing series of paintings inspired by phobias (as in this painting), famous artworks, and the written word. Barnett’s...

"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...

Valley House Gallery presented our first exhibition for Houston artist Otis Huband in the summer of 2014. After a hiatus of over 20 years from regular exhibitions, his work was re-in...

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...

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 th...

From the time he was four years old Max Hammond was destined to paint, as he began on the walls of his home, a budding muralist. As he ran along the edges of the salt marshes of the ...

Landscape painter, Gail Morris, has won many prestigious awards for her paintings and her work can be found in private and corporate collections throughout the United States, Japan, and Europe. Painting since 1999, her work as an artist has taken her on a number of extraordinary adventures around the globe, from the Navajo lands in New Mexico to the Dogon villages of West Africa. Morris attended Washington University, where she studied art history and eventually graduated from Webster College. However, as an artist, she considers herself to be self-taught. With her artwork, she likes to experiment with deconstruction and making the layers of paint as thin as possible, often times rubbing 60% of the paint off the canvass, or using steel wool and razor blades to distress the paint. She captures the soothing exuberance of the Western landscape by reducing each experience to its visual and emotional essence. Her serene paintings are influenced by the traditions of early California painting...

"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...

In the formalist tradition of Joan Miró, Ellsworth Kelly, Josef Albers, and Alexander Calder, Slonim explores the tension between structure, form, color, gravity, and spontaneity. Sl...

In the formalist tradition of Joan Miró, Ellsworth Kelly, Josef Albers, and Alexander Calder, Slonim explores the tension between structure, form, color, gravity, and spontaneity. Sl...

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...

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...

Fall landscape of field of wheat or long grass. yellow, beige and brown colors. American

"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 c...

From the time he was four years old Max Hammond was destined to paint, as he began on the walls of his home, a budding muralist. As he ran along the edges of the salt marshes of the ...

“Barnaby Fitzgerald’s outrageously gorgeous paintings are a guilty pleasure - yet the guilt is unnecessary, for they do not cloy or fatten us. They are as intellectually challenging ...

The greenhouse became a favorite subject of Donald Vogel's in the 1980's. As Vogel reflected in the 1998 catalogue published for his traveling retrospective exhibition, "The greenhou...

signed "Mozley" at lower right

John Schieffer graduated in 1995 from Paier College of Art in Hamden, Connecticut with a Bachelor of Fine Arts degree. The salutatorian entered the world of illustration at Mercer Mayer Productions as a children’s book illustrator. It was a job where he used his artistic abilities although it was not an outlet for a serious painting career. (He has a written and illustrated a book of his own that is awaiting a publisher). John then worked in the field of graphics at Leslie Roy Designs where he became production manager. Until recently John has been a full time conservator for Yost Conservation. Working primarily on 19th century American Art...

"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...

The High Desert near Abiquiu is the inspiration for Texas artist Jim Woodson. His paintings are a unity of the intuitive process of painting, personal ideology, and the desert landsc...

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...

David Collins earned a BFA from the Rhode Island School of Design, and currently lives and works in New York City. Collins has had numerous solo exhibitions in New York, and has exhi...

In the formalist tradition of Joan Miró, Ellsworth Kelly, Josef Albers, and Alexander Calder, Slonim explores the tension between structure, form, color, gravity, and spontaneity. Sl...

"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 color and shape to capture the wonders of the world around me. Her love affair with art began as a child, when her favorite present was a new box of Crayola crayons...

In his essay about David A. Dreyer's work, Philip Van Keuren writes: "He distills infinite visual and sensory stimuli he encountered while working in the field into the relatively...

Dallas artist David A. Dreyer’s eighth solo exhibition at Valley House Gallery was presented early in 2021, accompanied by an exhibition catalogue. His recent paintings are inspired ...

From the time he was four years old Max Hammond was destined to paint, as he began on the walls of his home, a budding muralist. As he ran along the edges of the salt marshes of the ...

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

Michael Tracy Untitled, 2006 Paint on silk 52 x 44 in (132.1 x 111.8 cm) JPHB 1166

"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 ...

"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...

abstract painting with yellow and green tones

Darren Waterston b. 1965 Low Humm, 2024 Watercolor and gouache on rag paper 29 1/4 x 22 inches (74.3 x 55.9 cm) Framed: 36 1/4 x 29 inches From the 2024 exhibition at Berggruen Gall...

"He [Cobble] has come to accept the fact that low production can lead to under appreciation in the short run, but he also knows that his gifts of perception and discrimination are ra...

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 ...

Quim Bove abstract painting, "Fire", 1997

In our quick paced culture, we are hyper-stimulated with visual media, which has caused our sense of vision to become blind to many things of incredible loveliness and consequence, s...

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. ...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...

Born in 1933, and reared in Virginia, Otis Huband began his formal art education after 4 years in the Navy. He earned his BFA and MFA at Richmond Professional Institute of the Colleg...

"I want my paintings to be a celebration of pure nature and moment––homage to the sacred spaces of memory. I begin with small automatic drawings, a practice of intuitive organization...

From the time he was four years old Max Hammond was destined to paint, as he began on the walls of his home, a budding muralist. As he ran along the edges of the salt marshes of the ...

"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...

This is acrylic on panel in an artist-made frame. The overall dimensions, including the frame, are 8 1/2 x 12 3/8 x 1 3/4 inches.

A Westerner at heart, art has always been in the soul of John Burton. Whether it’s a figurative work of Native Americans or a plein air oil of a desert or coastal landscape, John’s paintings are always filled with life, light, and color. Having lived his whole life in the West, John graduated from Arizona State University and continued his formal studies at the Academy of Art in San Francisco to study oil painting. John commented, “It was my Utopia, surrounded by people who loved art and had the same high level of dedication.”Upon graduation he realized that it was just the beginning and that “art is a lifelong study.”John considers himself fortunate to have studied with such noted artists as Scott Burdick...

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 ...

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 ...