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  Louis F. Berneker, The Three Graces, Oil on Canvas c. 1910

  LOUIS F. BERNEKER  (1872-1937)  USA

  “The Three Graces”   c. 1910

  Oil on canvas, gilt Arts & Crafts style frame

  Signed:  Louis F. Berneker  (lower left)

  For more information see: Who Was Who in American Art
  (Madison, Conn.: Sound View Press, 1985) p. 50

  Canvas: H: 25 1/8” x W: 30 1/8”
  Frame:   H: 35 5/8” x W: 40 5/8”

  Born in Cincinnati, Ohio, Louis Berneker first began his art training at the St. Louis School of Fine Art.  From 1903 to 1904, he studied at the prestigious Académie Julian in Paris under J.P. Laurens.  Upon his return to the United States, he lived primarily in New York City and later in Gloucester, Massachusetts, where he died in 1937.  An accomplished painter in oils and watercolors, he was a member of the New York Watercolor Club, American Watercolor Society, the National Arts Club, and an associate member of the National Academy of Design.  In 1930, the painter won prizes for works exhibited at both the National Academy of Design and Allied Artists of America’s juried shows.  Berneker exhibited his work at the Pennsylvania Academy of the Fine Arts from 1910 to 1914 and again in 1921, as well as at the National Academy of Design in 1930 (prize), Art Institute of Chicago, and the Society of Independent Artists.  His works are housed in the Church of St. Gregory the Great, New York City; the Belmont Theatre, both in New York City, the Chicago Theatre, and the Dallas Art Academy.

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  Gerrit V. Sinclair “Third Ward Milwaukee”, Oil on board, lemon gold frame c. 1940

  GERRIT V. SINCLAIR   (1890-1955) USA

  Third Ward Milwaukee c. 1940

  Oil on board, lemon gold frame

  Signed: GV Sinclair (lower right corner on front of painting)

  For more information see: Who Was Who in American Art (Madison, Conn.: Sound View Press, 1985) p. 571.

  Painting H: 15” x W: 20”

  Framed H: 20 7/16” x W: 25 7/16”

  Price: $27,500

  Gerrit V. Sinclair was born in Grand Haven, Michigan in 1890.  He studied art at the School of the Art Institute of Chicago from 1910 to 1915.  His most well known teachers at the Art Institute were John Vanderpoel and John Norton.  In 1917 the artist enlisted in the Army Ambulance Corps and served in northern Italy and Austria.  Scenes from his experience abroad are recorded in his works of the early 1920s.  Following the war, Sinclair settled in Milwaukee, Wisconsin, where he became a member of the faculty of the Layton School of Art upon the school’s founding in 1920.  He continued to teach at the Layton School and at the Oxbow Summer School of Art in Saugatuck, Michigan until his retirement in 1954.  Sinclair is recognized both as an important artist and teacher from the Great Lakes region.  During his lifetime Sinclair’s paintings were exhibited at the Salon d’Automne in Paris, the Salon Printemps in Paris, the Pennsylvania Academy of Fine Arts, the National Academy of Design, the Whitney Museum in New York, the New York Watercolor Club, the Brooklyn Museum, the Corcoran Gallery of Art in Washington D.C., the Carnegie Institute in Pittsburgh, the Art Institute of Chicago and in many other museums and galleries.  He received numerous prizes and commissions for his work including a W.P.A. mural commission for the Federal Building in Wassau, Wisconsin.  Sinclair was a member of Wisconsin Painters & Sculptors, Wisconsin Federation of the Arts and the Wisconsin Painting Museum. His style is a blend of realism and Impressionism but is clearly modern in its abstract concern for composition and color.  Sinclair is best known for his regionalist paintings of rural and urban Wisconsin.  His farm scene entitled ”Spring in Wisconsin” was exhibited at the 1939 World’s Fair in New York.  Gerrit V. Sinclair died in Milwaukee, Wisconsin in 1955.

   

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  Arrigo Varettoni de Molin, “Conflict”, Oil on canvas 1945

  ARRIGO VARETTONI DE MOLIN (1902-1985)

  Conflict 1945

  Oil on canvas

  Signed: de molin 1945 (lower left on front of canvas)

  For more information see: Who’s Who in America, Series II, no. 11 (November 1, 1941) p. 6.

  Canvas: H: 38” x W: 44”

  Framed: H: 45 ½” x W: 51”

  The work of Arrigo De Molin shows a genuine understanding of everyday people. His paintings have sympathy, humor and a touch of gentle irony. The artist himself, after immigrating to the United States from Borca di Cadore, Italy in 1921, had the opportunity to study art and design at Cooper Union and the Art Students’ League. His first enterprises as a theatrical designer and painter of community and church murals heavily influenced his later portrayals of New York City life. These, his most revered works, were exhibited at the Vendome Art Galleries in 1941. Later in life, de Molin, persevered as an independent artist, diversifying his talents to span design and invention.

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  Victor Arnautoff, The Felt Hat, Oil on Canvas c. 1930

  VICTOR ARNAUTOFF (1896-1979) USA

  The Felt Hat c. 1930

  Oil on canvas, white gold frame

  Signed: V. Arnautoff, lower right

  Exhibited: Art Center San Francisco, 1931 (see image of the review in the San Francisco Examiner, July 12th, 1931)

  For more information see: The New Deal for Artists, Richard D. McKinzie (Princeton, NJ: Princeton University Press, 1973), Coit Tower, San Francisco : Its History and Art

  Painting: H: 26” x W: 21”
  Framed: H: 32 ½” x 27 ½”

  Price: $60,000

  Victor Arnautoff created paintings and watercolors, focusing on portraits, still lifes and rural landscapes in his early years, and moved to more socially conscious themes later in his career. Arnautoff was a native of Russia, to which he returned during the 1960s after thirty years in the United States. He came to San Francisco from Russia via China, bringing his wife and children with him, and studied at the California School of Fine Arts studying with Ralph Stackpole and Edgar Walter before going to Mexico. There he worked as an assistant to the famous Mexican muralist Diego Rivera. During the 1930s, Arnautoff worked as project director and one of the artists selected to create the famed Coit Tower murals, he played a key role in determining the political and social content of the frescoes painted in the San Francisco landmark. His own contribution, City Life, appears to be a lively, non-political melding of downtown San Francisco scenes; however, closer study reveals two leftist newspapers on the newsstand, while the city’s most mainstream daily, the San Francisco Chronicle, is strangely missing. Arnautoff also painted frescoes in the Military Chapel at San Francisco’s Presidio, in the Anne Bremer Library of the San Francisco Art Institute, and in high schools and other buildings in the Bay Area. He was a professor of art at Stanford University from 1939 until his retirement in 1963.