Adaa Art Dealers Association Of America

The Victorian still-life painter William Hough began his career working in Coventry and later moved to London. He exhibited flower and fruit still lifes at the Royal Academy and at t...

"My artwork is always in progress. There is not a goal. There is not a category for my work. It is all about enjoying the process of every moment. On a blank sheet of washi calli...

Anodized aluminum (green)

Shell on crest, solid splat, great arm support and carved knuckles. Cabriole legs terminating in pad feet. Nice patina. Philadelphia, circa 1760.

Signed (at lower right): C A Walker

Cupid's bow crest, solid splat, great concave arm supports and carved knuckles. Spooned back, deep scalloped skirts, cabriole legs terminating in trifid feet. Wonderful old patina. P...

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...

Diana Horowitz painted World Trade Center Reflecting Pools and Harbor #1 during her tenure as a guest artist on the 48th floor of the re-built 7 World Trade Center. When 7 World Trad...

This is a unique bronze container. The figure has always been Deborah Ballard’s muse in her sculptures. Ballard works in bronze, cast stone, and plaster; her figures ranging from li...

Bird cage, suppressed ball pedestal, cabriole legs with carved shells terminating in ball and claw feet. Philadelphia, circa 1770.

Unframed

Stanley Twardowicz (1917–2008), a one-time orphan, Golden Gloves boxer, professional baseball player and auto worker, emerged from a hardscrabble upbringing in Detroit to become a po...

The main feature of his work is the overlap between "serious" painting and images drawn from the world of advertising, illustration and comic strips. Pictorial influences range from ...

lithograph edition of 90. signed in pencil, bottom right corner. edition number in pencil, bottom left corner. Edward Allington is best known for his work in the 1980's New British S...

Charcoal and Getty Fire Ash on paper

Charcoal and Getty Fire Ash on paper

Charcoal and Getty Fire Ash on paper

Charcoal and Getty Fire Ash on paper

Signed (at lower right): FJK [partial]

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...

Anodized aluminum (black)

Linarejos Moreno Art Forms in Mechanism XVll, 2016 archival digital print on Baryta paper, ed. 1/3 75-5/8 x 51-1/4 inches paper size The series “Art Forms in Mechanism” began when Linarejos Moreno discovered a collection of 19th century botanical models while researching at the Cabinet of Scientific...

Gail Norfleet earned her BFA at The University of Texas at Austin, and her MFA at Southern Methodist University. She has had solo exhibitions at The McKinney Avenue Contemporary and ...

This is a unique bronze container. The figure has always been Deborah Ballard’s muse in her sculptures. Ballard works in bronze, cast stone, and plaster; her figures ranging from li...

acrylic painting on canvas of people dressed in their Sunday clothing

On October 8, 1871, one of the greatest fires of modern times broke out in Chicago. Engulfing the entire city within hours, it left over 90,000 people homeless and destroyed thousands of buildings, causing many people to flee into the water to escape the flames. Among the property destroyed were the proudest cultural and civic institutions of the city. While the financial center was rebuilt within a year and trade was greater in 1872 than it had been in 1870, it took over a decade for the city’s cultural resources to recover from the disaster. Many of the city’s best artists did not even return to Chicago for several years. Foreign aid poured in from around the world, with half coming from England alone. It is not surprising therefore, that in 1872 it was an English artist that should have designed the mural for City Hall commemorating the Great Fire...

lambda print mounted on plexi Edition of 3 Still-life of glass objects

“Everybody has that feeling when they look at a work of art and it’s right, that sudden familiarity, a sort of...recognition, as though they were creating it themselves, as though it...

Gail Norfleet earned her BFA at The University of Texas at Austin, and her MFA at Southern Methodist University. She has had solo exhibitions at The McKinney Avenue Contemporary and ...

Gail Norfleet earned her BFA at The University of Texas at Austin, and her MFA at Southern Methodist University. She has had solo exhibitions at The McKinney Avenue Contemporary and ...

Julie Bozzi "Two Tone Building Next to Newly Graded Lot" 2009 Gouache on paper 7 x 10 inches Framed

Color spitbite aquatint and aquatint with drypoint

"I like to go back to a place. Seasons change. Light, which is theater, changes. Nature is tumultuous, and our contact with it makes life happen.” - David H. Gibson David H. Gibson ...

Very unusual shell on the crest, carved volutes on the splat, acanthus carved knees. Cabriole legs with carved volutes on the knee blocks and terminating in claw and ball feet.

charcoal drawing of a group of friends telling jokes on canvas.

Carved shell ears with highly carved splat. Shell on center rail with carved knee returns and acanthus carved legs with ball and claw feet. Descended in the James Henderson family of New York and the James Monroe...

Kate Shepherd Here and There #4, 2020 Enamel and transfer on paper 12 1/2 x 19 inches

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...

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...

This hand-painted German tin toy was manufactured by the "Lehman Toy Company" in Brandenburg, Germany beginning in 1913. It was made for a number of ye...

Butler’s Desk and Etagére, circa 1825 New York, possibly by Duncan Phyfe Mahogany (secondary woods: mahogany, pine, poplar), with ormolu mounts, marble,...

Fine quality English late 18th century faience planter or pot, with accompanying small porcelain stand. The hand painted image depicts a young couple handsomely dressed in bright col...

“Everybody has that feeling when they look at a work of art and it’s right, that sudden familiarity, a sort of...recognition, as though they were creating it themselves, as though it...

This is an archival pigment print on 3 layers of silk organza with sumi ink and mineral pigments. In 2019, Valley House Gallery presented our first exhibition of work by Chaco Terad...

Charles Houghton Howard was born in Montclair, New Jersey, the third of five children in a cultured and educated family with roots going back to the Massachusetts Bay colony. His fat...

Outstanding and rare early 19th century Mason's Ironstone (6) piece set consisting of toilet necessities as follows: Large oversized highly decorated pitcher and bowl for storing water and wash basin Pair of chamber pots for evening needs Similarly decorated toothbrush holder, large enough for multiple users Soap dish with removable strainer dish The fact that this rare ensemble has survived intact with no damage for nearly two hundred years is remarkable. It would have been an item owned and cherished by the aristocracy. and enjoyed as an art form because of it's high quality manufacture, in addition to the elaborate and detailed decoration. Also of note is the 8 sided octagonal form of each of the six items (see images). Please observe the elaborate serpent or snake formed handles to the large pitcher and both of the chamber pots (see images). Also worth mentioning is the attention the interior of the bowl receives, with as much decoration applied as the exterior (see image). The interior upper perimeters of all of the items receive the same amount of attention. The pitcher and bowl combination is larger than most that were manufactured during that period, (16" diameter) made possible by the strength of the ironstone. The Mason's mark underneath the items indicates a 1830s manufacture, with the "Mason's Patent Ironstone China" above and beneath the crown in blue. The ironstone process was patented by Charles Mason...

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...

This item is from a collection of "magic" props from a California estate, and was accumulated in New York City; home too many famous conjurors; Houdini, Hermann the Great, and Copper...

"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...

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...

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 he...

Arthur Fitzwilliam Tait was born at Livesey Hall, near Liverpool, England, and began his career as a clerk at the gallery of Agnew & Zanetti’s Repository of Arts in Manchester. While...

William Bailey’s still life paintings present seemingly everyday objects, including bowls, pitchers, and cups, in groupings that conjure the familiar world while offering a metaphysi...

The overall dimensions, including the artist-made frame, are 25 x 37 inches.

“Everybody has that feeling when they look at a work of art and it’s right, that sudden familiarity, a sort of...recognition, as though they were creating it themselves, as though it...

Crest rail with a shell and volutes, fluted stiles, pierced splat with volutes, shell on front rail, cabriole legs with shells terminating in claw and ball feet. Philadelphia, PA cir...

Oil on canvas, 14 x 12 in.

I am inspired by Andy Warhol, who taught us through his silk-screened images of Campbell Soup cans back in 1962 that objects of our popular culture cab be interpreted as “art” if we ...

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 he...

Stanley Twardowicz (1917–2008), a one-time orphan, Golden Gloves boxer, professional baseball player and auto worker, emerged from a hardscrabble upbringing in Detroit to become a po...