Adaa Art Dealers Association Of America

acrylic painting on canvas of people dressed in their Sunday clothing

Brice Marden Lana 2 1966 Screenprint on paper 20 x 24 inches; 51 x 61 cm Edition of 11 Signed, titled, and numbered in graphite (lower recto) This silkscreen was printed by Brice...

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...

Gary Stephan Untitled, 1990 Oil and acrylic paint on linen 18 x 14 inches

Hammered lead on paper Signed and dated (on verso): LCR 2014

Hammered lead on paper Signed and dated (on verso): LCR 2014

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...

Peter Fischli / David Weiss Equilibres 1984–85/2006 Limited-edition book with photograph in linen-bound portfolio Photograph: 12 1/4 x 9 1/8 inches; 31 x 23 cm Book: 9 1/4 x 7 3/4 x 7/8 inches; 24 x 20 x 2 cm Portfolio: 15 x 11 1/2 x 1 1/2 inches; 38 x 29 x 4 cm Edition of 60 Photograph signed and numbered in ink (lower verso) Book signed and numbered in graphite on title page For Equilibres, the well-known series of photographs from the mid-1980s, Peter Fischli and David Weiss balanced everyday household items on top of each other in an absurd equilibrium. The Equilibres photographs anticipate Fischli and Weiss...

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 ...

Thomas Fransioli, born in 1906 in Seattle, Washington, trained as an architect at the University of Pennsylvania. He worked as an architect before his service in World War II. Largel...

Bronze

Samoylova's "Landscape Sublime" series explores how landscape imagery in contemporary culture is used to create constructed realities, wholly apart from our lived experiences. Samoyl...

3D FDM print, ABS filament, with graphene-base white paint

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...

This is a hand carved wood prototype for a toy that would have been the model for a 19th century cast iron or tin horse drawn hansom cab. It precedes the mol...

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...

Anodized aluminum (gold)

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...

Pen and ink on tan laid paper

Samoylova's "Landscape Sublime" series explores how landscape imagery in contemporary culture is used to create constructed realities, wholly apart from our lived experiences. Samoyl...

portrait painted in acrylic on canvas.

"Candy is so colorful because we are drawn to eat colorful foods like fruit. So much of what I try to do is to create a painting that acts as a giant red shiny button that an observe...

"Peg-leg Beggar" 19th century cast iron mechanical bank was probably inspired by the many disabled Civil War veterans begging for their subsistence. The bank was manufactured by the ...

Samoylova's "Landscape Sublime" series explores how landscape imagery in contemporary culture is used to create constructed realities, wholly apart from our lived experiences. Samoyl...

Of British origin, circa 1815, and of Regency design, the bronze platform support, with foliate and flower head ornamented bracket feet, below a collar of leaves, support a central c...

"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 is a lifelong photographer whose first contact with the medium was in his father's darkroom before he could read. Gibson received a B.A. from Centenary College in Shreveport, Louisiana, and an M.A. at Trinity University in San Antonio, Texas. His early work in theater lighting...

Will Henry "Painting for Porter" 2019 Oil on linen 15 x 13 inches

Thomas Satterwhite Noble, who studied in France with Thomas Couture for three years, adapted his master’s genre style to American subjects. Born on his parents’ plantation in Kentucky in 1835, Noble was the son of a wealthy rope manufacturer. His early upbringing in Lexington, the center of that state’s slave trade in the antebellum South...

cast steel sculpture. Can sit tabletop or has a bracket to hang on the wall. Currently on exhibition and cannot be shipped until February 2021.

Joseph Havel Nothin, 2008 Double woven silk taffeta labels, acrylic construction, plywood 24 1/2 x 24 1/2 inches

In his sculptures, drawings and paintings, Michael O’Keefe employs unpredictable processes as a means to discover content. He couples accident and chance with unconventional methods,...

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 ...

Hammered lead on gray paper Signed and dated (on verso): LCR 2014

Hammered lead on gray paper Signed and dated (on verso): LCR 2014

Watercolor on paper

Signed (at lower right): DJ [monogram]; (on back): David Johnson 1865

hand colored photograph of green apples. Still-Life. framed in wood with gold leaf corners.

James Turrell Corrected RC Site Plan, 1988/92 Ink on printed paper 35 x 45

This very unique still bank is a "must have" for the discerning still bank collector, in that it is made of bakelite, in addition to it having a fish theme; only a couple of other banks depict a fish. American and probably manufactured around circa 1930, (making it an Art Deco piece), this pre-war bank, though unmarked, is undoubtedly a bakelite product; that company having been formed in 1922, utilizing the discovery and patent of bakelite in 1907 and 1909 respectively. Art Deco collectors would find this piece highly decorative and "period" compatible. This fish bank is in excellent and all original condition. The bank is rare in and of itself, but another element that makes it particularly scarce is the fact that, other than the old "knife in the slot" there was no way to remove the coins once the bank was filled without smashing it apart and destroying it. Great gift for that February/March pisces birthday. Dimensions: 8 1/4" long x 5" high x 2 1/8" wide Note:I am a leading specialist in the field of vintage coin banks...

Signed (at lower right): Ralph M. Rosenborg 1939; ll: 3/15 Woodcut

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...

"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...

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 ...

"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 is a lifelong photographer whose first contact with the medium was in his father's darkroom before he could read. Gibson received a B.A. from Centenary College in Shreveport, Louisiana, and an M.A. at Trinity University in San Antonio, Texas. His early work in theater lighting...

signed "Ike Edward Morgan" at lower left

Signed (at lower right): Louisa Chase 1989

Painting from what he calls “the middle ground of common experience,” Trujillo uses his environments as the foundation for a personal vision. He depicts places common to North Americ...

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...

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...

"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...

"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...

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...

4 panels hinged together of bronze metalic textured paper over wood.

Pair of drawings Charcoal and Getty Fire Ash on paper, 24 x 18 in. (each)

Signed on verso

Color spitbite aquatint and aquatint with drypoint

Framed, 5.25 x 8.5 x 1.5 in.

Anodized aluminum (green)

Wood (Cherry, with silver leaf finish), 34 x 7 in.

Signed and dated (on verso): Louisa Chase 1985