Adaa Art Dealers Association Of America Figurative Paintings

This painting is included in the exhibition "Otis Huband: Recent Work," June 7 - July 19, 2014. Valley House Gallery is honored to present our first exhibition for Houston artist ...

It was when she was nine years old when that Melissa Peck knew for sure she was an artist. She was sitting at the kitchen table drawing a picture of a little girl. At the time she wa...

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...

The overall dimensions including the frame are 70 x 42 inches. Donald Vogel’s paintings reflect his interest in seeking beauty in life and in sharing pleasure with his viewers. Voge...

Signed "C. VENARD" at lower right Overall dimensions, including the frame, are 33 3/4 x 18 1/4 inches

Arthur Osver studied at Northwestern University and the Art Institute of Chicago. Osver was awarded the Prix de Rome in 1952. He taught at the Brooklyn Museum Art School, Columbia Un...

"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...

Valley House Gallery presented our first exhibition for Houston artist Otis Huband in the summer of 2014. After a hiatus of over 20 years from regular exhibitions, his work was re-in...

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 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...

"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...

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, knowi...

signed "A. Lepère" at lower left

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...

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...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler: Visionary seems the right word for describing his vivid, unusual and technically refined painting...

In Hyperallergic (April 8, 2017) Edward M. Gómez writes of Miles Cleveland Goodwin, his "portraits and images of nature or people in nature... capture moments of heightened awareness...

“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 painting was inspired by the Virginia Woolf quote: "I thought how unpleasant it is to be locked out; and I thought how it is worse, perhaps, to be locked in." In her serie...

Fred Nagler was born in 1891 in Springfield, Massachusetts, where he first studied wood carving. From 1914 to 1917, he studied at The Art Students League of New York, where his profe...

A professor of painting at Southern Methodist University since 1984, Barnaby Fitzgerald spent his childhood in Italy where he earned a printmaking degree in Urbino. He received a BFA...

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...

This is egg-oil on Birch panel. A professor of painting at Southern Methodist University since 1984, Barnaby Fitzgerald spent his childhood in Italy where he earned a printmaking de...

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...

A professor of painting at Southern Methodist University since 1984, Barnaby Fitzgerald spent his childhood in Italy where he earned a printmaking degree in Urbino. He received a BFA...

Born in 1933, and reared in Virginia, Otis Huband began his formal art education after 4 years in the Navy. He earned his BFA and MFA at Richmond Professional Institute of the Colleg...

Inspired by the painting "The Blind Leading the Blind" by Pieter Bruegel the Elder. Vera Barnett is best known for creating elements of her composition—by sewing and painting plasti...

Inspired by the quote "Time is a dressmaker specializing in alterations." - Faith Baldwin In her recent series, "The Painted Word," Vera Barnett has turned to the written word for...

Valley House Gallery presented our first exhibition for Houston artist Otis Huband in the summer of 2014. Born in 1933 and reared in Virginia, Huband began his formal art education a...

Vera Barnett has taken on a range of themes in her works, producing series of paintings inspired by phobias (as in this painting), famous artworks, and the written word. Barnett’s...

“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...

“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 work was inspired by a true family story of a good friend of mine. It follows a complex relationship between a mom, a daughter, and a grandmother. It deals with the deep emotio...

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...

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...

Signed on verso

“Barnaby Fitzgerald’s outrageously gorgeous paintings are a guilty pleasure - yet the guilt is unnecessary, for they do not cloy or fatten us. They are as intellectually challenging ...

A Professor of painting at Southern Methodist University in Dallas since 1984, Barnaby Fitzgerald spent his childhood in Italy before receiving a Ma...

Signed (on verso): AF/2021

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, leading him to learn the craft in the open studios of the Palette and Chisel...

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...

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...

Oil painting of a mime and a mother and child dark

Angela Fraleigh Through the half-drowned stars, 2015 oil, ink, and synthetic resin on canvas 66 x 90 x 2 in (167.6 x 228.6 x 5.1 cm) Angela Fraleigh (born 1976, Beaufort, SC) earned...

Pigment and aluminum dust on canvased board. Whimsical painting of a ballerina dancer.

acrylic painting on canvas of people dressed in their Sunday clothing

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

Signed and dated (on verso): Angela Fraleigh 2021

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...

A contemporary figurative painter whose art is rooted in both the past and the present, Alan Feltus specializes in enigmatic depictions of women. Notable for their purity and simplic...

Signed (lower right): Quincy

Unsigned

Signed and dated (on verso): "Angela Fraleigh 2021"

gouache and Chinese ink on paper

Signed and dated (on verso): Angela Fraleigh 2021

Signed and dated (on verso): Angela Fraleigh 2021

Signed and dated (on verso): Angela Fraleigh 2021

Signed and dated (on verso): Angela Fraleigh 2021

Signed and dated (on verso): Angela Fraleigh 2021

Signed on back