Product Description
Jeffrey Hartman “Motobecane” Oil on canvas 1978
Jeffrey Hartman “Motobecane” Oil on canvas 1978
JEFFREY HARTMAN USA
“Motobecane” 1978
Oil on canvas
Signed: “Jeffrey Hartman ‘78”, “© 78 HARTMAN” (on the back)
Framed H: 26 1/2” x W: 18 1/2”
Price: $18,000
Belgian art dealer Isy Brachot coined the French word Hyperréalisme, meaning Hyperrealism, as the title of a major exhibition and catalogue at his gallery in Brussels in 1973. The exhibition was dominated by such American Photorealists as Ralph Goings, Chuck Close, Don Eddy, Robert Bechtle and Richard McLean; but it included such influential European artists as Gnoli, Richter, Klapheck and Delcol. Since then, Hyperealisme has been used by European artists and dealers to apply to painters influenced by the Photorealists. However, Hyperrealism is contrasted with the literal approach found in traditional photorealist paintings of the late 20th century. Hyperrealist painters and sculptors use photographic images as a reference source from which to create a more definitive and detailed rendering, one that often, unlike Photorealism, is narrative and emotive in its depictions. Strict Photorealist painters tended to imitate photographic images, omitting or abstracting certain finite detail to maintain a consistent over-all pictorial design. They often omitted human emotion, political value, and narrative elements. Since it evolved from Pop Art, the photorealistic style of painting was uniquely tight, precise, and sharply mechanical with an emphasis on mundane, everyday imagery. Hyperrealism, although photographic in essence, often entails a softer, much more complex focus on the subject depicted, presenting it as a living, tangible object. These objects and scenes in Hyperrealism paintings and sculptures are meticulously detailed to create the illusion of a reality not seen in the original photo. That is not to say they’re surreal, as the illusion is a convincing depiction of (simulated) reality. Textures, surfaces, lighting effects, and shadows appear clearer and more distinct than the reference photo or even the actual subject itself.
Category: Post-War to Present Paintings.
Tags: 1978, Jeffrey Hartman, Motobecane, Oil on canvas.
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Duval Eliot “Still life”, Oil on canvas, wood frame c. 1945
DUVAL ELIOT (1909-1990) USA
Still life c. 1945
Oil on canvas, wood frame
Signed: Duval Eliot (lower right)
Painting H: 30” x W: 24”
Frame H: 38” x W: 32”
Duval Eliot, nee’ Ruby Duval Bearden, was born in Arkansas, and at a young age moved with her family to California. After going to Hollywood High School, she attended The Los Angeles Trade Technical College (then known as Frank Wiggins Trade School), studying Commercial Art and Design. While there, she began her art career as a men’s fashion illustrator. Then, because of her immense interest in art, immediately enrolled in Art Center School in Los Angeles, being one of their first students. She studied landscape painting (watercolor and oil), portrait, life drawing and illustration with Barse Miller and with Joseph Henniger, life drawing. At Art Center she continued studying all facets of commercial art and simultaneously worked at the Columbia Advertising Agency designing newspaper layouts and fashion illustrations for the major Los Angeles department stores such as I. Magnin, The Broadway, I. Miller, Wetherby Kayser, and Sak’s in Beverly Hills.
Throughout the 1940’s, Duval continued to create watercolor landscapes of Southern California and the West, while illustrating for J.J. Hagarty. Commercially, her prime focus was free-lance illustration, which could be created with a young child in tow, finding interesting work at the “Western Family Magazine,” for whom she did illustrations for over ten years. She also illustrated children’s storybooks and textbooks for MacMillian and L.W. Stinger publishing houses, meanwhile creating Fashion Advertisements and billboards in full color for Phelps & Terkel for several years and billboards for Silverwoods Department Store. For this work, Duval received the Western Art Directors Award in 1946.
During the post World War II years, Duval honed her fine art techniques. She studied with such notable artists as: Barse Miller, Hardy Gramatky and Ejnar Hansen (watercolor) and also with Hansen, (landscape & portrait painting in oil). In 1948, in The Fourth Annual Los Angeles Exhibition at The Greek Theater in Griffith Park, she won 1st Prize for her watercolor entitled “End of the Trail” among her peers of 326 entrants for painting, including Francis De Erdely, Lorser Feitelson, Conrad Buff, James Couper Wright, Frode N. Dann, Joshua Meador, Dan Lutz, and Chas. Payzant. She also studied painting with Conrad Buff, J.C.Wright, Design and Abstract Painting with Leonard Edmonson, and later, painting in acrylic with 2 years of intensive color with Guy MacCoy and silk-screen Serigraphy with Mario De Perentes. Duval also became close friends with Milford Zornes.
Duval became active in “The Southern California Designer Craftsmen” (S.C.D.C.) She won many awards and exhibited extensively throughout the 1950’s and 1960’s at Barnsdall Municipal Art Gallery, Pasadena Art Museum (paintings and enamels}, Gallery 333 on La Cienega. In the 1940s, she turned towards more formal subject matter including landscape and still life and honed her fine art techniques in watercolor, oil, acrylic, and printmaking.
She participated in several group exhibitions in the Los Angeles area in the late 50s and early 60s. Her work was featured in solo exhibitions at the Jack Carr Gallery in Pasadena in 1976 and the Brand Library Gallery in Glendale in 1988.
Duval was also an active member and on the boards of “The Pasadena Society of Artists”, ”The Los Angeles Art Association”, “Women Painters of the West”, as well as S.C.D.C., participating in numerous group (Design 6, 7, 8, and 9 at the Pasadena Art Museum) and one man shows in the vicinities of Pasadena, Glendale, Santa Barbara and Claremont. She was represented in Paris by two silk screen serigraphs at The Exposicion Internacionale des Federacion Femenine at The Museum des Arts Decoratifs in 1971.
Duval Eliot was also represented in The Los Angeles County Art Museum’s show “MADE IN CALIF” in 2001 with “Chavez Ravine” and “3rd St. Traffic”.
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Richard Harold Redvers Taylor, “Modernist building staircase”, Gouache on paper c. 1949
RICHARD HAROLD REDVERS TAYLOR (1900-1975) United Kingdom
Modernist building staircase c. 1949
Gouache on paper, metal and wood frame
Signed: RHRT (lower left)
Marks: Gimpel Fils exhibition label (on back)
Exhibited: “An Exhibition in the Kettle’s Yard Loan Gallery: Sculpture & Painter,
14 February – 10 March, 1972” Gimpel Fils, London
Framed: H: 41 7/16” x W: 30 5/16”
Richard Harold Redvers Taylor (1900-1975) was born in Brighton on March 14th, 1900 and educated at Brighton College and Heatherleys School of Fine Art, Chelsea. His father, Harold Taylor, was a headmaster. Redvers Taylor retired from the Army (where he specialized in topographical surveying in Africa) in 1937 but was recalled for war service. In 1946 he began a new career as a professional painter. Between 1948 and 1958 Taylor was given a series of six one-man shows by Lefevre and Gimple Fils in London. In the 1960’s he turned to sculpture, and in 1972 an exhibition of his sculpture and paintings was held at the Kettle’s Yard Loan Gallery in Cambridge. His work is held in the permanent collection at the Beith Uri V Rami Museum in Israel. Louise Taylor (née Hayden), his wife, was an American and the adopted daughter and heiress of Alice B. Toklas, the companion of Gertrude Stein. Louise Taylor died on 21 July 1977.
Purism, otherwise known as l’esprit nouveau was directly inspired by a spare, functionalist aesthetic and is closely associated with the work of Le Corbusier and his circle in Paris in the second quarter of the 20th Century. In America this purist style was known as Precisionism, which explored similar imaginary during the late 1920’s and 30’s with artists like Charles Sheeler, Charles Demuth and Ralston Crawford at the forefront of this movement. In England, the Vorticist movement (1912-1915) was founded by Wyndham Lewis and others and was the precursor to the Purist movement in Great Britain in the 1930’s and 1940’s. Redvers Taylor created geometrical landscapes while reducing volumes to colored planes and outlines to ridges. His artwork combines depth and perspective with flattened cubist fields of color. Architecture of industrial buildings was his favorite subject, whereas people and nature were usually absent from his compositions.
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