Adaa Art Dealers Association Of America Paintings

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 ...

Matt Magee Map - Spirit Level, 2020 Oil on panel 48 x 48 in (121.9 x 121.9 cm)

Brooke Stroud Campo, 2018-2020 Acrylic paint, oil pastel, and aerosol paint on panel 16 x 20 inches

Signed (at lower right): L; (on verso): D. Ligare / 2024

Timothy Rees was fascinated with drawing throughout his youth and after high school pursued a degree in animation. The pull to painting portraits and figures was strong, however, leading him to learn the craft in the open studios of the Palette and Chisel...

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...

Ruiz's Displacements series poignantly alludes to the tragedy of warfare and forced displacement in Colombia. By juxtaposing serene images of a man transporting his homeland in a can...

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 ...

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

Angela Fraleigh Through the half-drowned stars, 2015 oil, ink, and synthetic resin on canvas 66 x 90 x 2 in (167.6 x 228.6 x 5.1 cm) Angela Fraleigh (born 1976, Beaufort, SC) earned...

This painting is oil on gessobord panel. The overall dimensions including the frame are 17 x 14 inches. 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 life through landscape, still life, portraiture, and abstraction. Restlessly creative, he has explored these varied genres with equal concentration…..” Bob Stuth-Wade’s method of painting is uniquely his own, having taught himself technique; his only formal training was as a teenager with Dallas artist Perry...

Signed (at lower right): A. WEISKOPF

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 life through landscape, still life, portraiture, and abstraction. Restlessly creative, he has explored these varied genres with equal concentration…..” Bob Stuth-Wade’s method of painting is uniquely his own, having taught himself technique; his only formal training was as a teenager with Dallas artist Perry Nichols...

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 Collins' 2016 move from the bustle of New York City to Long Island influenced a change in his palette that reflects the peaceful, natural atmosphere of his new surroundings. Hi...

David Collins' 2016 move from the bustle of New York City to Long Island influenced a change in his palette that reflects the peaceful, natural atmosphere of his new surroundings. Hi...

In Miles Cleveland Goodwin’s soulful compositions, he narrates the story of his life. Goodwin responds to his environment, the lives of common folk living around him, and the mysteri...

This is acrylic on three shaped ragboard panels in artist-made frames.

"This work was inspired by a true family story of a good friend of mine. It follows a complex relationship between a mom, a daughter, and a grandmother. It deals with the deep emotio...

This is acrylic on four shaped ragboard panels in artist-made frames.

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...

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...

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...

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...

David Collins has an ongoing interest in space and memory. Many of Collins’ memories relate to his family’s history in inventing Cold War era technology. Personal recollections of sp...

Allison Gildersleeve addresses the theme of memory, exploring the phenomenon of past and present becoming collapsed or entwined by the emotional experience. Gildersleeve states: “In ...

Valley House Gallery is honored to present a selection of paintings from the estate of American artist, John Hartell (1902-1995). John Hartell taught two disciplines at Cornell University in Ithaca, New York: freshman architecture and graduate painting. He was a much-loved professor there from 1930 until his retirement in 1967; one of his most illustrious students is the architect Richard Meier. As an artist, Hartell's first solo exhibition was in 1937 at Kleeman Gallery in New York. He exhibited at Kraushaar Galleries in New York for four decades, beginning in 1943. The Hartell Gallery at Cornell University, under the Sibley Dome, is named for him. In describing John Hartell, the artist Michael Boyd...

David Collins has an ongoing interest in space and memory. Many of Collins’ memories relate to his family’s history in inventing Cold War era technology. Personal recollections of sp...

Media is charcoal on Ceconite fabric with acrylic paint on backside of fabric

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...

David Collins was raised in Dallas, received a BFA from the Rhode Island School of Design, and currently lives and works in New York City. Collins has had numerous solo exhibitions i...

Allison Gildersleeve, born in Connecticut in 1970, earned her B.A. from the College of William and Mary and her M.F.A. from Bard College. Gildersleeve lives and works in Brooklyn, Ne...

Allison Gildersleeve, born in Connecticut in 1970, earned her B.A. from the College of William and Mary and her M.F.A. from Bard College. Gildersleeve lives and works in Brooklyn, Ne...

David A. Dreyer was born in Dallas in 1958, and earned his BFA and MFA at Southern Methodist University. He has had solo exhibitions at The McKinney Avenue Contemporary in Dallas and...

In 1852, twenty-nine year old William Bradford was a failing shopkeeper in Fairhaven, Massachusetts. With a wife and child at home, Bradford, by his own admission, “spent too much time in painting to succeed” in business. Rescued from insolvency by his well-to-do in-laws, this is not the beginning of a narrative that generally leads to a happy ending. Not so with Bradford, who ultimately found international fame and fortune as a painter of arctic seascapes and dramatic marine paintings. William Bradford, the artist, was a lineal descendant of the 17th-century Separatist leader William Bradford, a founder of the Plymouth Plantation, signer of the Mayflower Compact and Governor of the Plymouth Colony. Our Bradford born to a New Bedford ship outfitter in Fairhaven, Massachusetts By the nineteenth century, this line of Bradfords were Quakers, living on the tract purchased nearly two centuries earlier by their pilgrim ancestor. Fairhaven, across the mouth of the Acushnet River from the whaling center of New Bedford was described by a New York journalist in 1857 as “the Brooklyn of New Bedford” (Home Journal, January 3, 1857). Young Bradford displayed an early predilection for the arts, but his Quaker parents were disinclined to support this particular pursuit. After working in his father’s business and then for a dry goods merchant in New Bedford, by 1849 Bradford had set up in New Bedford as a “merchant tailor” offering outfits for “those going to California,” “seamen’s clothing,” custom-tailored “piece goods...

In Love is in the Air, Ruiz addresses the politically charged issue of fumigating poppy fields with a deeply human and spiritual tone. This series contrasts the striking beauty of p...

portrait painted in acrylic on canvas.

acrylic painting on canvas of people dressed in their Sunday clothing

Signed and dated (at lower right): Randall Exon 2018

Joseph Havel Dream, 2004 Double woven silk taffeta labels in an acrylic construction 13 1/2 x 12 1/2 x 1 3/4 inches

mixed media and collage on cardboard. Depiction of Butterfly Fantasy

large abstract oil painting on canvas green orange brown

watercolor and Ink painting of intertwined tubular forms on paper

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...

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

Abstract ink painting on canvas.

JULIE HEDRICK YELLOW TARA #2, 2021 oil on canvas 12 x 12 in. 30.5 x 30.5 cm.

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

Francesca Fuchs Koala Bear, 2018 acrylic on canvas over board 30 x 41 1/2 in (76.2 x 105.4 cm) This work is part of a series currently on view at the Art ...

Gouache on board, 20 x 24 in. Signed (at lower right): Atherton Painted about 1940 RECORDED: Art News (May 11, 1940), illus. [clipping citation] EXHIBITED: The Art Institute of Chicago, 1940, The International Watercolor Exhibition, no. 156, illus. on cover as Bird in Cage...

Dana Frankfort SHE SELLS SEASHELLS (II), 2016 oil on paper 30.25 x 44 in (76.8 x 111.8 cm) paper size 32.75 x 46.5 x 1.75 in (83.2 x 118.1 x 4.4 cm) framed

Valerie B Hird SOURCE CODE 13, 2019 watercolor on gessoed Arches paper 6 x 9 in. 15.2 x 22.9 cm.

Sigrid Sandström, Untitled, 2015, acrylic on polyester canvas, 39-1/2 x 35-1/2 inches The various marks that collide in Sigrid Sandström’s paint...

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...

abstract still life painting in ink on canvas. blind contour drawing colorful

JULIE HEDRICK SOLAR #2, 2022 oil on canvas 24 x 24 in. 61 x 61 cm.

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

Signed (at lower right): L; (on verso): D. Ligare / 2024

Unsigned