Adaa Art Dealers Association Of America Paintings

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

abstract oil painting on linen with gold acrylic edge

Oil on linen, 20 x 26 in.

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.

black and white landscape painting of lily pads. floral

landscape oil painting on canvas in painted frame. waterskape

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

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.

Signed (on verso): Stanley Twardowicz

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...

abstract oil painting with gold acrylic on edge

Gouache on paper, 18 7/8 x 14 3/4 in. Signed (at lower right): Morris; (with monogram, on the back): GLKM [monogram] / 1932 [sic] Executed circa late 1940s A passionate advocate of abstract art during the 1930s and 1940s, George L. K. Morris was active as a painter, sculptor, editor, and critic. An erudite man with an internationalist point of view, Morris eschewed the social, political, and figural concerns that preoccupied so many artists of Depression-era America, believing that painters should focus their attention on the beauty, refinement, and simplicity of pure form instead. His goal, he said, was “to wedge the expression further and further into the confines of the canvas until every shape takes on a spatial meaning” (as quoted in Ward Jackson, “George L. K. Morris: Forty Years of Abstract Art,” Art Journal 32 [Winter 1972–73], p. 150). Born into an affluent family in New York City, Morris was a descendent of General Lewis Morris, a signer of the Declaration of Independence. From 1918 until 1924, he attended the Groton School in Connecticut, studying classics and art. He continued to focus on literature and art while attending Yale University (1924–28), an experience that prepared him well for his future activity as an artist-critic. After graduating in 1928, Morris studied at the Art Students League of New York, working under the realist painters John Sloan and Kenneth Hayes Miller, as well as Jan Matulka, the only modernist on the faculty. In the spring of 1929, Morris traveled to Paris with Albert E. Gallatin, a family friend and fellow painter who introduced him to leading members of the Parisian avant-garde, including Jean Arp, Pablo Picasso, Georges Braque, Jean Hélion, and Piet Mondrian. Morris also took classes at the Académie Moderne, studying under Fernand Léger and Amédée Ozenfant, important exponents of Synthetic Cubism who influenced his aesthetic development. Indeed, after experimenting with the simplified forms of Modernism for a few years, Morris moved on to abstraction by 1934, adopting a hard-edged, geometric approach inspired by Leger’s cubist style and the biomorphic shapes of Arp and Joan Miró. Following his return to New York in 1930, Morris built a white-walled, open-spaced studio (inspired by that of Ozenfant, which had been designed by Le Corbusier) on the grounds of Brockhurst, his parents’ 46-acre estate in Lenox, Massachusetts. In 1935, he married the painter and collagist Estelle “Suzy...

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

acrylic painting on canvas of people dressed in their Sunday clothing

portrait painted in acrylic on canvas.

Abstract ink painting on canvas.

JULIE HEDRICK YELLOW TARA #2, 2021 oil on canvas 12 x 12 in. 30.5 x 30.5 cm.

JULIE HEDRICK BREATHLESS BY THE LIGHT, 2021 oil on canvas 48 x 48 in. 121.9 x 121.9 cm.

JULIE HEDRICK HELIOS #2, Sun God, The Apollo Trilogy, 2021 oil on canvas 36 x 36 in. 91.4 x 91.4 cm.

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...

watercolor and Ink painting of intertwined tubular forms on paper

Oil painting with deep blue and bright greens on canvas. Thickly textured.

Pigment and aluminum dust on canvased board. Whimsical image of a dancer with puppet strings.

pigment on Roxy Music album cover signature located on the vinyl album

Signed and dated (on verso): Angela Fraleigh 2021

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

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

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. ...

watercolor, silver leaf on BFK paper

Signed and dated (at lower right): MOORE '19

oil painting on gessoed BFK paper, framed floating in white wood frame.

Signed and dated (at lower left): Randall Exon 07

Signed (at lower right): MOORE

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...

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

Signed with initial (at lower right): L

Watercolor on paper

Signed (lower right): Robert Vickrey

Signed and dated (at lower right): MOORE '18

Signed (at lower right): A. Weiskopf

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...

Oil on panel

Kristin Musgnug Moss-Topped Stump, 2016 oil on canvas, 30 x 30 inches From the press release for the current gallery exhibition: In the popular imagination, the forest is oft...

Francesca Fuchs Koala Bear, 2018 acrylic on canvas over board 30 x 41 1/2 in (76.2 x 105.4 cm) This work is part of a series currently on view at the Art ...

Is it discomfort, or excitement, that you feel when you watch these women languidly roust, or subtly drift asleep? Do you happily play the voyeur, seduced by their beauty and the opu...

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...

Signed (at lower right): A. Weiskopf

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

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. ...

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. ...

Beth Secor Sparrow, 2016 gouache, pencil and ink on paper 24-3/4 x 24-3/4 inches

In Colin Hunt’s new paintings, myriad tiny rocks, grains of sand, and strands of rockweed form a coastal beach, while lush forests pierce a crystalline sky. Elsewhere, palpable mists...

Dana Frankfort In the middle of the road, 2017 oil on canvas over panel 48 x 48 x 1.75 inches For over two decades, Dana Frankfort has explored the vexing periphery between language and sight by painting words. Rather than laying claim to the paintings, controlling their semiotic pulse, her words serve as the formal armature; they prop up, ventilate, and allow the many layers of paint to breathe. Imperatives, allusions, evocations—the words dissolve into a palimpsest of obscured serifs and stems, into color and form. The title of the work is a phrase from a poem by Carlos Drummond de Andrade’s “In the Middle of Road.” Here it is, translated from the Portuguese by Elizabeth Bishop...

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. ...

Dana Frankfort SHE SELLS SEASHELLS (II), 2016 oil on paper 30.25 x 44 in (76.8 x 111.8 cm) paper size 32.75 x 46.5 x 1.75 in (83.2 x 118.1 x 4.4 cm) framed

Francesca Fuchs Duck and Dolphin, 2018 acrylic on canvas over board 30 x 41 1/2 in (76.2 x 105.4 cm) This work is part of a series currently on view...