Adaa Art Dealers Association Of America Paintings

Sigrid Sandström Untitled, 2012 acrylic on board, 84 x 60 inches

Stone’s luminous still lifes, private interiors, and large-scale panoramas of figures in motion invite us to look—and then look some more—and relish in the sensuality of the three di...

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

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...

Oil painting of a mime and a mother and child dark

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

mixed media and collage on cardboard. Depiction of Butterfly Fantasy

This painting is oil on aluminum panel. It is not framed. 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...

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...

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...

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...

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...

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...

This is acrylic on three 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...

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...

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 ...

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...

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 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 ...

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 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...

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...

Sigrid Sandström Untitled, 2012 Acrylic on board, 60 x 48 inches Sigrid Sandström was born in 1970 in Stockholm, Sweden and currently Professor of Fine Arts at the Royal Institute of Art, Stockholm. She studied at Cooper Union School of Art, Academie Minerva, Groningen, The Netherlands (BFA 1997), attended Skowhegan School of Painting and Sculpture (2000) and received an MFA in Painting from Yale University in 2001. She has exhibited widely since then, with solo exhibitions in New York, Los Angeles, Houston and her native Sweden. Sandström's work was included in the Contemporary Arts Museum of Houston's 25th anniversary exhibition, Perspectives @ 25. Her first solo museum exhibition, Ginnungagap: Recent Works by Sigrid Sandstrom...

small oil painting on canvas.

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...

Signed (lower right): Robert Vickrey

abstract oil painting on linen with gold acrylic edge

small oil painting on canvas

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

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...

abstract watercolor and ink painting of intertwined tubular forms on archival paper, varnished.

Pigment and aluminum dust on canvased board. Whimsical painting of a ballerina dancer.

Signed with initial (at lower right): L

black and white landscape painting of lily pads. floral

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. ...

landscape oil painting on canvas in painted frame. waterskape

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...

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

Randall Exon (b. 1956) was born in Vermillion, South Dakota. Exon earned his B.F.A. in painting from Washburn University in Topeka, Kansas, and an M.F.A. at the University of Iowa. I...

suns.antidote, 2014 gouache on paper mounted on canvas, mounted on panel 24 x 20 inches If some artists’ studios are factories, efficient and methodical, and some are gardens, c...

Oil on Canvas

abstract oil painting with gold acrylic on edge

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

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

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

gouache on paper mounted on canvas mounted on panel, 30 x 22 inches

acrylic painting on canvas of people dressed in their Sunday clothing

portrait painted in acrylic on canvas.

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