Adaa Art Dealers Association Of America

This is one of the more popular "crazy car" toys and was designed by the iconic New York City Louis Marx Toy Company, Circa 1935, with the fascination of the American West and the st...

It's hard to imagine an approach to photography that contrasted more with Robert Frank’s freewheeling style than Hollywood’s glamour shots of film stars in the 1950s. The stills depa...

This seldom seen bank is technically a mechanical bank but basically it is a still bank with a slight mechanical function, that being; once it is full of coins, it opens up automatic...

18th century walnut Queen Anne highboy with beautiful grain three drawers over four in upper case and one over three on base still retaining it's or...

Listing includes framing with UV Plexi ($1,250 value), free shipping to the continental US and a 14-day return policy. Offering local pick up from our Los Angeles location. This is one of the last remaining editions from one of the most popular images from Karen Knorr's acclaimed "India Song" series. The Return of the Hunter, Chandra Mahal, Jaipur, 2010 31.5 x 39.5 inches, 34 x 42 x 2 inches framed Archival pigment print Edition 1 of 5 Karen Knorr Artist Biography - While Knorr’s images take some of their inspiration from the Indian tradition of personifying animals in literature and art, there is another almost subconscious strain to her work. Going back to the time of cave painting we see that these early visual artists not only recorded their lives and surroundings, but used art to express themselves. The depiction of animals in symbolic and powerful ways and the urge to create these images with the best tools at hand is a line stretching from these unnamed cave painters to Karen Knorr. Playfully combining technologies and genres, Knorr mixes digital...

Great barber shop collectible item consisting of a German straight edge razor with a molded red celluloid handle; theme is a nude standing on a pil...

Rare and difficult to find Native American beaded coin purse, with an image of an Indian chief in full regalia, with a headdress and frontal Indian d...

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...

The mark on the underneath (see image) indicates that this spittoon is of Japanese Imari porcelain, manufactured circa 1880, and made specifically for the American market for the preponderance of bars and saloons at that time. These were popular from 1865 to the turn of the century; this is a particularly fancy and elaborate example. Note the copious and highly detailed and beautiful floral decoration to the inside of the upper portion of the spittoon; pretty fancy for something meant for spit and saliva! Fantastic and all original condition with no cracks, no chips and very bright paint in sharp colors of blue rust and pink, and meticulously painted in a floral pattern. Several of these would have been “stationed” in strategic places within a saloon. This is a wonderful piece of porcelain, and quality item of saloon and Western United States history...

Signed, titled, dated in ink on photographer's label. Archival Pigments on Kozo Paper 29-1/2" x 19-1/2",frame 32-3/4" x 23" Edition 1 of 5

Adam and Eve, 1910 Vintage photogravure, Camera Work April 1910, 30:5 Image: 7" x 5", Mount: 11-3/4" x 8-1/4", Mat: 20" x 16"

Signed, titled and dated in ink on accompanying photographer's label Archival pigment print Image: 16" x 20", Paper: 17" x 21", Matted: 24" x 30" Edition of 10

This movie poster is from one of the earliest movies produced; having been based on a novel written by Harold Edward Bindloss (bearing the same name "The Cattle Baron's Daughter") in...

Fine quality American magazine rack (also known as a canterbury) exhibited at the Centennial Exhibition held in Philadelphia in 1876. Unusual to find an American example, as most are of English manufacture and quite ubiquitous. Of Charles Eastlake...

Pair of English Georgian brass-bound buckets, circa 1770. Buckets are well made, sturdy, and in excellent condition and completely original and intact. These handsome fine quality b...

Signed, titled, dated in ink on photographer's label. Archival pigments on Kozo paper Image: 23 5/8" x 16 3/4", Frame: 28 1/4" x 20 1/4" AP 3

The term "spelter" refers to a zinc/lead metal compound used to pour and make castings. Because of the thinness of the castings there is great detail to the subject matter of these banks. Spelter banks...

Very rare and unusual piece, a sterling silver "note holder" fronted by an Indian Chief on the front in high relief. A bale on top provides for a necklace and hanging as a decorative piece of jewelry. Other decoration on the front includes a tomahawk and a peace pipe criss-crossed beneath the Indian. The back is plain with a decorative "repousse" floral border, and "sterling" clearly marked in the lower left (see image). It is 2 7/8" high  x 2" wide resembling and in the style of a match safe; probably manufactured by Unger Bros. of Newark, New Jersey, circa 1880, but difficult to observe all of the surfaces because of the frontal "notes" in permanent place. A note holder would have been used to write down reminders and/or notations by the user; the surfaces appear to be a celluloid type material. Condition is excellent with six notes intact; a very slight "crease" to the back side; hardly noticeable (see image). Appropriate Americana for the discerning collector with a Western Native American...

Oil on canvas, 36 x 42 in. Signed, dated, and inscribed (at lower right): WILLIAM S. SCHWARTZ 1926; (on the back): “OLD COUNTRY BAZAAR” / BY / WILLIAM S. SCHWARTZ / 1926 RECORDED: C. H. Bonte, “122nd Annual opens at Pennsylvania Academy,” in The Philadelphia Inquirer, Jan. 30, 1927 EXHIBITED: The Art Institute of Chicago, 1926, The Thirty-Ninth Annual Exhibition of American Paintings and Sculpture, no. 174 // The Pennsylvania Academy of the Fine Arts, Philadelphia, 1927, The One-Hundred-and-Twenty Second Annual Exhibition, p. 37 no. 181 // The Chicago Culture Club...

signed and numbered in pencil on verso

Fine quality hand painted porcelain humidor is in excellent all original condition with no chips, repairs, or overpaint; nice bright crisp paint and detail. No mark, but definitely American, circa 1900 era. Note the detail to the Indian's face and his elaborate headdress. Native American Indians were especially attracted to tobacco and related products and relished the opportunity to pose for pictures on that topic; note cigar store "Indians", match safes, and humidors. This is a very desirable and item of tobacciana with the Indian subject matter and the attractive multicolored hand painted Indian chief with headdress, probably of note but I have not been able to accurately identify him; quite possibly "Big Bow" an Indian warrior who has been identified on other similar objects. Grace Young...

Art Deco ladies traveling necessaire ensemble consisting of 13 implements for grooming, contained in a hard cardboard green branch decorated traveling case. The grooming implements a...

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...

A pair of diminutive perfume bottles are contained in this "trunk designed" carrying case for travel. Something unique in the way of style and utility for the antique perfume bottle ...

Signed, titled, dated and numbered in pencil on verso Gelatin silver print Image: 12-5/8" x 19", Paper: 13-5/8" x 20", Matted: 20" x 24" AP 1/3

An elegant expression of clean lines and beautiful walnut. This cupboard has a raised panel door and a scalloped tail below with two shelves.

Offered is typical stylistic and original Art Deco ring. Opal is natural and ring itself is palladium with nicely appointed floral pattern engraving around the entire band. There are...

Colorful and scenic large folio lithograph of redwoods in the California Sierras, done by well-known California painter Frederick W. Becker. Becker was born in South Dakota in 1888 and lived an itinerant life, winding up in California in the 1920s where he was most active and best known He studied with noted American Impressionists as Hugh Breckenridge, Philip Leslie Hale...

Karsh is a master 20th Century photographer. Karsh is known for his portraits of authors, scientists, artists, statesmen, musicians, and other dis...

Sakura Bloom, 2024 Signed, titled, dated and numbered in ink on artist label Archival pigments on Kozo paper Image/Paper: 11-3/4" x 7-3/4", Framed: 16-1/4" x 12" Edition 2 of 10

Diane Arbus A House on a Hill, Hollywood CA, 1963 Signed by Doon Arbus & Neil Selkirk (printer) Gelatin silver print Image: 14-3/4" x 14-1/2", Paper: 20" x 16", Mat: 24" x 20" 19/75 ...

It is infrequent, to say the least, that a diagnosis of tuberculosis proves fortuitous, but that was the event, in 1921, that set Paul Starrett Sample on the road to becoming a professional artist. (The best source for an overview of Sample’s life and oeuvre remains Paul Sample: Painter of the American Scene, exhib. cat., [Hanover, New Hampshire: Hood Museum of Art, 1988] with a detailed and definitive chronology by Sample scholar, Paula F. Glick, and an essay by Robert L. McGrath. It is the source for this essay unless otherwise indicated.) Sample, born in Louisville, Kentucky, in 1896 to a construction engineer and his wife, spent his childhood moving with his family to the various locations that his father’s work took them. By 1911, the family had landed in Glencoe, Illinois, settling long enough for Paul to graduate from New Trier High School in 1916. Sample enrolled at Dartmouth College, in Hanover, New Hampshire, where his interests were anything but academic. His enthusiasms included the football and basketball teams, boxing, pledging at a fraternity, and learning to play the saxophone. After the United States entered World War I, Sample, to his family’s dismay, signed on for the Naval Reserve, leading directly to a hiatus from Dartmouth. In 1918 and 1919, Sample served in the U.S. Merchant Marine where he earned a third mate’s license and seriously contemplated life as a sailor. Acceding to parental pressure, he returned to Dartmouth, graduating in 1921. Sample’s undergraduate life revolved around sports and a jazz band he formed with his brother, Donald, two years younger and also a Dartmouth student. In November 1933, Sample summarized his life in a letter he wrote introducing himself to Frederick Newlin Price, founder of Ferargil Galleries, who would become his New York art dealer. The artist characterized his undergraduate years as spent “wasting my time intensively.” He told Price that that “I took an art appreciation course and slept thru it every day” (Ferargil Galleries Records, circa 1900–63, Archives of American Art, Smithsonian Institution, available on line). In 1920, Donald Sample contracted tuberculosis. He went for treatment to the world-famous Trudeau Sanitorium at Saranac Lake, in New York State’s Adirondack Mountains for the prescribed regimen of rest, healthful food, and fresh air. Visiting his brother in 1921, Paul also contracted the disease. Tuberculosis is highly contagious, and had no certain cure before the development of streptomycin in 1946. Even for patients who appeared to have recovered, there was a significant rate of recurrence. Thus, in his letter to Price, Sample avoided the stigma conjured by naming the disease, but wrote “I had a relapse with a bad lung and spent the next four years hospitalized in Saranac Lake.” The stringent physical restrictions imposed by adherence to “the cure” required Sample to cultivate an alternate set of interests. He read voraciously and, at the suggestion of his physician, contacted the husband of a fellow patient for instruction in art. That artist, then living in Saranac, was Jonas Lie (1880–1940), a prominent Norwegian-American painter and an associate academician at the National Academy of Design. Lie had gained renown for his dramatic 1913 series of paintings documenting the construction of the Panama Canal (The Metropolitan Museum of Art, New York; United States Military Academy, West Point, New York). Primarily a landscape artist, Lie had a particular affinity for scenes with water. His paintings, impressionistic, atmospheric, and brushy, never strayed from a realistic rendering of his subject. Sample regarded Lie as a mentor and retained a lifelong reverence for his teacher. Sample’s early paintings very much reflect Lie’s influence. ` In 1925, “cured,” Sample left Saranac Lake for what proved to be a brief stay in New York City, where his veteran’s benefits financed a commercial art course. The family, however, had moved to California, in the futile hope that the climate would benefit Donald. Sample joined them and after Donald’s death, remained in California, taking classes at the Otis Art Institute in Los Angeles. In Sample’s account to Price, “I couldn’t stomach the practice of painting a lot of High Sierras and desert flowers which seemed to be the only kind of pictures that were sold here so I got a job teaching drawing and painting at the art school of the University of Southern California.” Initially hired as a part-time instructor, Sample progressed to full-time status and ultimately, by the mid-1930s, to the post of Chairman of the Fine Art Department. Sample, however, did not want to wind up as a professor. “Teaching is all right in small doses,” he wrote, “but I have a horror of drifting into being a college professor and nothing more.” At the same time as he taught, Sample began to exhibit his work in a variety of venues at first locally, then nationally. Though he confessed himself “a terrible salesman,” and though occupied with continued learning and teaching, Sample was nonetheless, ambitious. In 1927, he wrote in his diary, “I am eventually going to be a painter and a damned good one. And what is more, I am going to make money at it” (as quoted by Glick, p. 15). In 1928, Sample felt sufficiently solvent to marry his long-time love, Sylvia Howland, who had also been a patient at Saranac Lake. The Howland family were rooted New Englanders and in summertime the Samples regularly traveled East for family reunion vacations. While the 1930s brought serious hardship to many artists, for Paul Sample it was a decade of success. Buttressed by the financial safety net of his teacher’s salary, he painted realist depictions of the American scene. While his work addressed depression-era conditions with a sympathetic eye, Sample avoided the anger and tinge of bitterness that characterized much contemporary realist art. Beginning in 1930, Sample began to exhibit regularly in juried exhibitions at important national venues, garnering prizes along the way. In 1930, Inner Harbor won an honorable mention in the Annual Exhibition of the Art Institute of Chicago. That same year Sample was also represented in a show at the Albright-Knox Gallery in Buffalo and at the Biennial Exhibition of the Corcoran Gallery of Art, Washington, D.C. In 1931, Dairy Ranch won the second Hallgarten Prize at the Annual Exhibition of the National Academy of Design, in New York. Sample also made his first appearances at the Carnegie Institute, Pittsburgh, and The Pennsylvania Academy of the Fine Arts, Philadelphia. In 1936, Miner’s Resting won the Temple Gold Medal at the Pennsylvania Academy’s Annual Exhibition. Always interested in watercolor, in 1936, Sample began to send works on paper to exhibitions at the Whitney Museum, New York. While participating in juried exhibitions, Sample also cultivated commercial possibilities. His first New York art dealer was the prestigious Macbeth Gallery in New York, which included his work in a November 1931 exhibition. In 1934, Sample joined the Ferargil Galleries in New York, after Fred Price arranged the sale of Sample’s Church Supper to the Michele and Donald D’Amour Museum of Fine Arts in Springfield, Massachusetts. In 1937, The Metropolitan Museum of Art purchased Sample’s Janitor’s Holiday from the annual exhibition of the National Academy of Design, a notable honor. As prestigious as this exhibition schedule may have been, by far Sample’s most visible presence in the 1930s and 1940s was the result of his relationship with Henry Luce’s burgeoning publishing empire, Time, Inc. Sample’s first contribution to a Luce publication appears to have been another San Pedro...

Signed in pencil on verso; stamped with photographer's copyright stamp on verso Gelatin Silver Print Paper: 16" x 20", Mat: 20" x 24"

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 ...

Signed on recto. Vintage platinum print Image 5.75 x 7.5", Mount 6 x 8", Mat 16 x 20"

This early print of this image was made in 1980. It is titled, signed and stamped on verso, by the Executor of the Hujar Estate.

Valerie B Hird SEA MYTH IV, 2010 oil on gessoed BFK paper 16 x 33 in. 40.6 x 83.8 cm.

Signed, titled, dated in ink on photographer's label. Archival pigments on Kozo paper Image: 11 3/4" x 8 3/4", Frame: 15 1/8" x 12 1/4" Edition 2 of 10

Signed, titled, dated in ink on photographer's label. Archival pigments on Kozo paper 8 7/8 x 11 3/4 " 22.5 x 30 cm Edition 2 of 10

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...

Silver plated American figural napkin ring of a young boy pushing a heart shaped napkin ring marked "Meriden 161", indicating the earlier version of this ring, circa 1886. The Mer...

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, le...

Signed, titled and numbered in pencil on recto Archival pigment print Image: 15-3/4" x 18-3/4", Paper: 26-1/4" x 26-1/4", Matted: 29" x 29-1/2" Edition 22 of 265

Palais Royal, Paris, 1989/Printed Later Signed in ink on recto Gelatin silver print 16 x 12 inches

Signed, titled and dated in ink on accompanying photographer's label Archival pigment print Image: 16" x 20", Paper: 17" x 21", Matted: 24" x 30" Edition of 10

Winold Reiss (1886-1953), who scholars increasingly recognize as a pivotal figure in early 20th-century American art, is known for his evocative portraits that capture the spirit and...

From the series Blow Up

Desk with bold serpentine interior, document drawers with turnings and flames, and block-and-shell prospect door with carved tulip. Case with four gra...

Signed, titled, dated in ink on photographer's label. Archival pigments on handmade Kozo paper Image/Sheet: 7-3/4" x 10-1/4", Frame: 11-1/4 x 13-3/4" AP 2

Born in Columbus, Ohio, in 1965, Ron Hicks was an avid artist from an early age. Hicks began his formal studies in art at the Columbus College of Art and Design in Ohio. Hicks contin...

JOAN NELSON UNTITLED, 1984 egg tempera on masonite 24 x 18 in. 61 x 45.7 cm. signed and dated on verso landscape castle

Listing includes framing with UV Plexi, Free shipping, and a 14 day return policy. Also available for local pick up in New York City. The Search for Sattva, Ahhichatragarh Fort (2014) by Karen Knorr 24 x 30 inches (27 x 33 inches framed) Archival pigment print Edition 2 of 5 Signed on artist certificate and acquired directly from the artist. Karen Knorr Artist Biography While Knorr’s images take some of their inspiration from the Indian tradition of personifying animals in literature and art, there is another almost subconscious strain to her work. Going back to the time of cave painting we see that these early visual artists not only recorded their lives and surroundings, but used art to express themselves. The depiction of animals in symbolic and powerful ways and the urge to create these images with the best tools at hand is a line stretching from these unnamed cave painters to Karen Knorr. Playfully combining technologies and genres, Knorr mixes digital...

Reprise, 2023 Signed, titled, dated in ink on photographer's label. Archival pigments on handmade Kozo paper Image: 11 3/4" x 8 3/4", Frame: 15 1/8" x 12 1/4" Edition 3 of 10

Image size is 10 x 6.5 inches. Signed, titled and dated by the artist on verso.

From Sharon Core's series Oldenburgs, which playfully explores the sculptural work of Claes Oldenburg.

Listing includes framing with UV plexi ($1,000 value), free shipping for the continental US and EU/UK, and a 14 day return policy. Also available for local pick up at our New York City gallery. A Moment of Solitude... (2019) by Karen Knorr Archival pigment print Image Size: 24 x 30 inches Framed Size: 27 x 33 x 2 inches Edition 1 of 5 Signed on artist certificate and adhesive label Karen Knorr Artist Biography - While Knorr’s images take some of their inspiration from the Indian tradition of personifying animals in literature and art, there is another almost subconscious strain to her work. Going back to the time of cave painting we see that these early visual artists not only recorded their lives and surroundings, but used art to express themselves. The depiction of animals in symbolic and powerful ways and the urge to create these images with the best tools at hand is a line stretching from these unnamed cave painters to Karen Knorr. Playfully combining technologies and genres, Knorr mixes digital...

small oil painting on canvas

Signed in ink on recto; signed, titled & dated in pencil on verso Image 13-3/4" x 9-1/4", Paper 16" x 12", Matted 20" x 16"

This supremely elegant photograph illustrates why Imogen Cunningham’s botanical pictures are a keystone of modernist photography. In the 1920s, Cunnin...

Danny Lyon (born 1942), is a self-taught American photographer and filmmaker. Born in Brooklyn, NY, he is also credited as an accomplished writer to accompany his photographs. He stu...