Adaa Art Dealers Association Of America

From 1833 to 1835 Johan Laurentz Jensen lived in France and Italy; while in Rome, he was considered the most prominent painter in an extensive colony of Scandinavian artists there. I...

Terrell James Field Study #749, 2020 Oil on vellum 20 x 16 in (50.8 x 40.6 cm)

This hard to find ensemble consists of a uniquely configured 18th century Georgian night cupboard circa 1770, and a six piece Victorian Mason's Ironstone toiletry set for washing and toiletry needs, circa 1835. The washstand conveniently accommodates all of the pieces from the Mason's set in their appropriate compartments as if it was specifically made for the grouping (see images). The Georgian washstand...

Three fine quality "Nippon" AUTHENTIC vases from the Meiji dynasty; Japan, Circa 1910. All are in excellent and all original condition with no repairs and no restoration, chips, or touch up of any kind. They are all hand painted with moriage accents to two of them; indicative and representative of the prime era of fine quality Japanese porcelain makers during the turn of the 19th century, say 1891 through 1921. Colors are crisp and not faded. The stein or mug is particularly difficult to come by. Measurements of each are below: 1) Hand painted Nippon...

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...

Very nicely appointed Victorian rush seated ladder back chair; English and mid 19th century. A little different with the fret back design,...

Signed, dated, numbered and titled in pencil on recto; artist's copyright label affixed to verso Painted Gelatin Silver 16 x 20 inches Edition 8 of 25

"Stingaree" by artist David Everett is polychromed mahogany, and measures 43 3/8 x 40 1/4 x 21 1/2 inches. It is signed "© D EVERETT 2017". It depicts a mother and child, pelican and...

Brian Cobble’s landscapes tend to particularly focus on the interplay of man and his surroundings, whether natural or built. A signature attention to the liminal aspects of a scene, ...

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...

These are from the Thomas Devenish Collection (documented below; see provenance). This pair of mirrors represents the transition period of rococo to neoclassical aesthetic which cont...

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 ...

Texas artist Jim Stoker began developing his confetti-splatter technique of painting in 2000 to depict his interpretations of the unique flora along the Guadalupe River, as well as t...

This is a hard to find pre war vintage, Made in America wind up tin toy by The Lindstrom Toy Company of Bridgeport, Connecticut, circa 1928-1932. The action is fabulous; when wound ...

Georgia O'Keeffe on Her Roof, New Mexico, 1967 Signed in ink on recto Gelatin Silver Print Image - 12"x18", Paper - 16"x20", Matted - 20"x24"

Offered here is a whitish/cream colored friction tin toy 911 Porsche circa 1960's, marked at the bottom; "Porsche" in addition to the Bandai Toy Company logo embossed, along with "Made in Japan" designation being noted. The Bandai Toy Company is a post war toy company established in Taito, Japan circa 1950 and is still conducting business today, albeit, it has shifted from toy manufacturing to video toy accessories. This is a very rare toy and is coveted by collectors of both toys and fast cars. Except for the odd and minor scratch here and there, the toy is in very nice, all original condition with absolutely no restoration or touch up to the paint or mechanism (see images). The action and friction functionality works well (see video). Motor and engine mechanics and nomenclature are colorfully displayed through the plastic rear trunk window (see image); while the colorful interior can be seen through the side window. Car is all tin, with rubber tires and plastic windows. Dimensions: 10 1/4" long x 4" wide x 3 1/4" high. Priced competitively; note that this toy doesn't become available very often and the few that have turned up in recent years , don't work and are several hundred dollars more than mine. Note: After 40 plus years of dealing and collecting toys, I am justly qualified to guarantee and present the authenticity of antique and vintage toys; important considering fakes and reproductions in the marketplace it would behoove an enterprising collector, dealer, or decorator to take advantage of the opportunity to buy as many of the vintage tin...

Uniquely fabulous and highly unusual item for those seeking something different; this 18th century "cricket holder" from the Qing Dynasty is in the shape of a fish and is made of hand wrought metal, with nice detail and an open woven body which provided air to the cricket. A sophisticated clasp locking mechanism on the underneath of the fish kept the pet cricket contained in the caged holder. Obviously this was intact when someone at some point in time tried to remove whatever was inside by making a hole at the base of the tail to get it out (see image). This hand held cricket cage holder is in very nice and all original condition, save for the small hole; not fragile in any way; sturdy in structure with no repairs. For over 1000 years the Chinese have used crickets...

Malick Sidibé (1935-2016) was renowned for his celebrated black-and-white photographs of the youth culture in his hometown of Bamako, Mali.

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...

Simply a beautiful and well made "American Sampler On Linen" with initials "MCB" bordered in blue; in excellent and all original condition. A stitched green framed border; features ...

William Wegman is a renowned photographer famous for his unique and artistic photographs of Weimaraner puppies. His approach to is far from conventional, avoiding the typical "cuddly...

Associated with the Minimalist art movement of the 1960s, Mangold developed a reductive vocabulary based on geometric forms, monochromatic color, and an emphasis on the flatness of t...

Made of pressed steel and in excellent all original condition, this wind-up toy has just about all of it's original strong paint with zero touch-up and no restoration (see images). It works great (video available upon request), and is quite substantial and sturdy in stature and size at 14 1/2" long; almost has the feel of a keystone or buddy L piece. Girard made an almost identical vehicle, so it is my feeling that Marx bought the patent from them and manufactured under their own name. There are no scratches or dents and the original gold stenciled writing to the doors and engine hood states "Fire Dept...

Brice Marden Celadon Muse 2003 Two color etching / one color lithograph 22 x 30 inches; 56 x 76 cm Edition of 45 Signed, dated, and numbered in graphite (lower recto) Frame available...

Fluted stiles, rare elaborate carved splat, acanthus carved knees, two shells and cabriole legs terminating in claw and ball feet. Philadelphia, PA, circa 1760-1775.

image size: 9 3/4 x 12 5/8 inches William Wegman is a renowned photographer famous for his unique and artistic photographs of Weimaraner puppies. His approach to is far from conven...

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...

Donald S. Vogel has been a set designer and technical director in the theater, a fine art dealer, and a writer, but first and foremost he is a painter. From a young age he was intrig...

Fabulous looking fine quality and unusual large size 18th century George III table top yew wood sarcophagus shaped box. While it could have been a tea caddy; at 14" wide it seems ove...

"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...

Edmund D. Kinzinger was born in 1888, in Pforzhein, Germany. In Munich he studied at the Kirr Schule and the Staatliche Akademie, and pursued graduate studies at the Academie Modern, Paris. Before serving in the German Army, Kinzinger was a master student of Adolph Holzel at the Staatcliche Akademie, Stuttgart; he returned to study under Henrich Waldschmidt after nearly five years of artillery service. Several of Kinzinger’s fellow students in Germany, such as Johannes Itten, would go on to be associated with the Bauhaus school. Coming into contact with all manner of artistic influences in Europe after World War One, Kinzinger’s work may be viewed as a “synthesis” of modernist styles. The influences of Abstract Expressionist, Cubist, and Futurist styles in Kinzinger’s work at this time are symptomatic of his contact with the likes of Hans Hofmann, Pablo Picasso, and Alexander Archipenko. About this period of Kinzinger's work, Philip Van Keuren...

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...

Charles Demuth was one of the most complex, talented, and deeply sensitive artists of the American modern period. Whether he was painting floral still lifes, industrial landscapes, or Turkish bathhouses, art was, for Demuth, fraught with personal meaning. A fixture of the vanguard art scene in New York, Demuth navigated the currents of Modernism, producing some of the most exquisite watercolors and original oil paintings in twentieth-century American art. Demuth was born in Lancaster, Pennsylvania, the only child of a well-to-do family. He had an awkward and introverted childhood shaped by a childhood illness, Perthes, a disease of the hip that not only left him permanently lame, but, as part of the “cure,” bedridden for two years in the care of his mother. This long period of incapacitation had a deep impact on Demuth, who came to see himself as an invalid, an outsider who was different from everyone else. It was perhaps during this period of indoor confinement that his keen interest in art developed. Several relatives on his father’s side had been amateur artists, and, following his convalescence, his mother encouraged his artistic pursuits by sending him to a local painter for instruction. The majority of his early pictures are of flowers, a subject for which Demuth maintained a lifelong passion. Following high school, Demuth enrolled at the Drexel Institute of Art in Philadelphia, a school renowned for its commercial arts program. He advanced through the program rapidly, and, in 1905, at the encouragement of his instructors, he began taking courses at the Pennsylvania Academy of the Fine Arts. The two leading teachers then at the Academy were William Merritt Chase and Thomas Anshutz. Anshutz, himself a former student of Thomas Eakins, was well liked by his students, and is best known as the teacher of Robert Henri, John Sloan, and several of the other artists of the Ashcan School. Demuth, too, adopted a similar idiom, working in a controlled, realistic manner while at the Academy, where he remained until 1910. In 1907, Demuth made his first trip to Europe, staying in Paris. He spent time on the periphery of the art scene composed of the numerous American artists there, including John Marin and Edward Steichen. He returned to Philadelphia five months later, and immediately resumed courses at the Academy. Despite his introduction to advanced modern styles in Europe, Demuth’s work of this period retains the academic style he practiced before the trip. It wasn’t until he had summered at New Hope, Pennsylvania, in 1908 and 1911, that his style began to evolve. New Hope was a prominent American Impressionist art colony whose members were largely affiliated with the Pennsylvania Academy. Demuth dropped the conservative tone of his style and adopted a freer and more colorful palette. Although he remained based in Philadelphia, Demuth frequently went to New York during this period. Many of the same American artists of the Parisian art scene Demuth had encountered on his earlier European trip now formed the nucleus of New York’s avant-garde, which centered around Alfred Stieglitz’s 291 gallery. It wasn’t long before Demuth began to apply modernist-inspired strategies to his work. He was particularly influenced by the watercolor work of John Marin, also a former student of Anshutz, whose bold use of color in the medium Demuth freely adapted into looser washes of color. In 1912, Demuth again left for Paris, this time studying in the Académie Moderne, Académie Colorossi, and Académie Julian. In Paris Demuth met the American modernist Marsden Hartley. Hartley, a principal figure in the expatriate art circle, acted as a mentor to Demuth, and introduced him to the wide array of modern styles currently practiced in Europe. Hartley also introduced Demuth to many of the members of the Parisian avant-garde, including Gertrude Stein. Demuth was an aspiring writer, and he spent many hours in conversation with Stein. He wrote extensively during this period, and published two works shortly after his return to America. He also developed an interest in illustrating scenes from literary texts. From 1914 to 1919, Demuth produced a series of watercolors of scenes from books such as Emile Zola’s Nana and Henry James’s The Turn of the Screw. Upon his return to America, Demuth settled in New York. In 1914, Demuth had his first one-man show at Charles Daniel’s gallery, which promoted emerging modern American artists, including Man Ray, Rockwell Kent, Yasuo Kuniyoshi, Stuart Davis, and Max Weber. Demuth drew closer to the artistic vanguard in New York, becoming friends with many in the Stieglitz and Daniel circles, including Georgia O’Keeffe, Marcel Duchamp, Carl Van Vechten, and Edward Fiske. New York’s cosmopolitan atmosphere and active nightlife appealed greatly to Demuth. In a sketchy style well suited to watercolor, he painted many vaudeville and circus themes, as well as nightclub, café, and bathhouse scenes. Often with Duchamp, Demuth took part in an urban subculture replete with nightclubs, bars, drugs, and sexual permissiveness, which, for a homosexual artist like himself, allowed room for previously unattainable personal expression. Demuth’s pictures of sailors, bathhouses, and circus performers embody a sensual and sexual undercurrent, expressing the artist’s sense of comfort and belonging in the bohemian subculture of New York. Simultaneously, Demuth deepened his interest in floral pictures, painting these almost exclusively in watercolor. His style evolved from the broad color washes of his earlier pictures to more spare, flattened, and sinuous compositions, inspired by the drawings of Aubrey Beardsley and other artists of the Aesthetic Movement. Demuth’s flower watercolors are moody and atmospheric, sensuous and elegant, introspective and yet full of expressive power. Moreover they are beautiful, and are unequivocally among the finest still lifes in American art. Despite numerous subsequent artistic undertakings that led him in a variety of directions, Demuth never stopped painting flower pictures, ultimately adding fruits and other still-life objects to his repertoire. In 1916, Demuth began to develop a style later known as Precisionism, a form of landscape painting infused with Cubism, in which space is divided into precisely drawn geometric regions of color. Demuth first began to paint the landscape in an appropriated Cubist mode while on a trip with Hartley to Bermuda. In these early landscapes, in which the curvilinear forms of trees intersect the geometrically articulated architectural forms, Demuth explored ideas that shaped the future development of modernism in America. The full realization of Demuth’s explorations came after his return to America in 1917, when he turned his attention to industrial subjects. These works derive from a “machine aesthetic,” espoused by New York artists such as Francis Picabia, Joseph Stella, Albert Gleizes, and Duchamp, by which artists viewed machines as embodying mystical, almost religious significance as symbols of the modern world. Rather than painting the skyscrapers and bridges of New York as did most of his like-minded contemporaries, Demuth returned to his home town of Lancaster, where he painted factories and warehouses in a Precisionist idiom. The titles for these pictures are often contain literary references, which serve as clues for the viewer to aid in the decoding of the artist’s meaning. In 1923, Demuth planned a series of abstract “poster portraits” of his friends and contemporaries in the New York art and literary scene. In these “portraits,” Demuth combined text and symbolic elements to evoke the essential nature of his sitters’ distinguishing characteristics. In this fashion, he painted portraits of such artists as Georgia O’Keeffe, John Marin, and Arthur Dove. His most famous poster portrait, I Saw the Figure 5 in Gold...

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...

Mary Weatherford The Robot, 2018 Spit bite aquatint on gampi paper chine collé 35 1/4 x 28 1/2 in (89.5 x 72.4 cm) Edition of 25

Terrell James A Collective Pulse, 2022 Oil on linen 29 x 42 in (73.7 x 106.7 cm)

"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 is a lifelong ph...

Donald S. Vogel has been a set designer and technical director in the theater, a fine art dealer, and a writer, but first and foremost he is a painter. From a young age he was intrig...

This rare and unique game is in excellent all original condition with it's original, highly lithographed colorful box, This seemingly little used pre-war game is completely intact an...

The paper size is 30 1/8 x 44 inches

Human and Animal Locomotion. Plate 691. Fallow deer; doe; galloping; and kid; jumping. 14 x 20 inch original vintage collotype print from 1887 Image size 7 1/2 x 14 1/2 inches Inv...

Offered for sale is a risque Art Deco Sterling Silver Cigarette Case, often referred to as a "naughty" because of it's bawdy subject matter; that being; of ...

Very unusual western Americana theme silver plated covered tureen, consisting of four feet of cast and silver plated deer heads; rams heads on each end; and opposite facing deer heads at the top of the lid to lift off of the bowl. Sides and top are decorated with elaborate floral engravings. It was manufactured by Meriden B...

Kate Shepherd Eve #26, 2022 Unique screenprint on Coventry Rag paper 38 3/4 x 23 5/8 in (98.4 x 60 cm)

After a tour of duty in the US Navy, Miles Cleveland Goodwin earned a BFA from Pacific Northwest College of Art in Portland, Oregon, in 2007, and eventually returned to coastal Missi...

Signed in pencil on recto. Numbered, signed, titled & dated in pencil on verso Gelatin Silver Print Edition of 25

Listing includes framing with UV plexi, free express shipping and a 14-day return policy. Four 4.5 x 3.25 inch unique vintage Kodak prints featuring Jerry Hall, Pat Cleveland and Adele Lutz. Prints are on active consignment from the estate of Antonio Lopez. Purchase includes certificates of authenticity from the estate of Antonio Lopez. These Kodak prints are not signed by Antonio Lopez. Frame has some minor damage and is note in the pictures. The price reflects this with a reduction compared to similar listings. Antonio Lopez Biography - The foremost fashion illustrator of the 1970s and 80s, Antonio (as he signed his work) was and remains one of the most highly regarded and influential figures in the fashion world. While not initially known as a photographer, Antonio was rarely without his favorite Instamatic camera, and as his career progressed he turned increasingly to photography to create fashion stories, portraits, and elaborate mise-en-scènes. A serial Svengali, as the writer Karin Nelson noted: “Lopez brilliantly transformed the women in his world. Under his tutelage, Jerry Hall, a long tall Texan he met at Paris’s Club Sept, evolved into a golden goddess. He put Jessica Lange in gold lamé evening dresses after discovering her in Paris studying mime, and gave aspiring model Tina Lutz her start (and an introduction to future husband Michael Chow...

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...

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.

There is a lot going on in this equestrian themed, bright and colorful circus poster portraying famous early 20th century circus performer "Miss Helen Girard". She is in a horse drawn cart in one image, while two men ride horses in two other images, and Helen Girard in full portrait is featured on the left. Her claim to fame is stated at the bottom "Empress of the Equestrian World" and "Side Saddle Queen". This is a reissued poster by Ringling Brothers from 1971 of one of their original, very early, 1903 promotional circus posters. To commemorate their 100th anniversary, in 1971, Ringling Brothers and Barnum and Bailey, produced reissues of some of their select and most famous authentic posters...

Having started in Sweden, the company opened up in America in 1888 as the "De Laval Cream Separator Company" in New York City, with a production plant ...

2009, pigment print photograph, 14 x 11 inches, Edition of 12 signed and numbered by the artist on the reverse William Wegman is a renowned photographer famous for his unique and ar...

Philadelphia Queen Anne side chair with yoke crest, solid splat and cabriole legs terminating in slipper feet.

David Everett was born in Beaumont, Texas, and received both his B.F.A. and M.F.A. from The University of Texas at Austin. Valley House began showing his multi-articulated, painted w...

This is a most unusual piece appealing to both those who collect cigar cutters, and collectors who seek out silver plated novel items. It consists of a bottom scalloped edged bowl wh...

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...

A pine scalloped hanging plate rack in original blue paint.

Listing includes free shipping in the US and a 14-day return policy. All prints are made to order and will arrive in mint condition directly from Will Adler's studio in Santa Barbara. Will Adler Malibu, 2009 16 x 24 inch archival pigment print Edition 3 of 8 Signed on adhesive certificate Other sizes are available from the same edition. 30" wide, 40" wide, and 50" wide. Please inquire for pricing. Artist Biography - Will Adler is a 38 year old west coast photographer known for his distinctive take on the surf world. Adler's laid back, light infused images, (as often of women surfers as men) convey the spirit and atmosphere of place as much as the action of the sport and have earned him a cult following in surfing and photography circles. For his summer show at Danziger Gallery, Adler is showing pictures from Hawaii, California, and Montauk shot for himself and for magazines such as Juxtapoz, Neon, Surfer, WAX, and The New Yorker, His commercial clients have included Quiksilver, Patagonia, Nike, and Hixsept. The 2014 summer show at Danziger Gallery was curated by Tom Adler...

"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...