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  Walter Paul Suter, American Art Deco glazed pottery sculpture 1929

  WALTER PAUL SUTER USA

  AMERICAN ENCAUSTING TILING CO. New York, NY

  Art Deco Seated Female Figure with Draped Skirt and Holding an Art Deco Vase 1929

  Hand-modeled and molded cream glazed earthenware figure with gold and silver details on a separate, but matching black glazed earthenware base.

  Signed: SUTER ‘29 (under glaze on back right hand corner)

  H: 13″ x D: 7 1/2″ x W: 9″

  Price: $14,500

  Walter Paul Suter was born in Basel, Switzerland in 1902 and studied there at the School of Fine and Applied Arts. He moved to the United States in 1924 and settled in New York. He was a member of the American Ceramic Society, as well as the Society of Swiss Painters, Sculptors & Architects. In 1932 Suter won first prize in the Robineau Member Exhibition in Syracuse.   He was a member of the American Encaustic Tiling Company in NYC.

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  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.

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  Arthur N. Colt, “The Wrestlers”, Oil on canvas c. 1938

  ARTHUR N. COLT (1889-1972) USA

  The Wrestlers c. 1938

  Oil on canvas

  Signed: A. N. Colt in lower right corner

  For more information on Colt see: Who Was Who in American Art (Madison, Conn.: Sound View Press, 1985). p.125. Hove, Arthur, ed. Wisconsin Alumnus Vol. 61, No. 9 (January 1960), “Portrait Patterns” Art Digest v. 9 (December 15, 1934) p. 7

  Canvas:   H: 29 ½” x W: 34”

  Framed: H: 38 ½” x W: 43”

  Arthur Colt studied painting at the Art Institute of Chicago and in Paris. He was not only an important Wisconsin painter but also an influential teacher. He taught at the University of Wisconsin, Madison, founded a summer art colony at Black River and Devil’s Lake, WI and went on to form the Colt School of Art. Arthur Colt exhibited at the Madison Salon of Art Exhibition in 1934.

   

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  Joseph Raskin, Seaside scene, Oil on Canvas c. 1920 -1925

  JOSEPH RASKIN   (1897-1981) USA

  Seaside scene  c. 1920 -1925

  Oil on canvas, gold leaf frame

  Signed:  Jos. Raskin  (lower left)

  For more information see: Who Was Who in American Art,
  (Madison, Conn.: Sound View Press, 1985), p. 505

  Canvas: 25 1/4” x 21 1/4”
  Frame: 31 1/4” x 26 3/4”

  Price: $35,000

  Born in Nogaisk, Russia, Joseph Raskin made a name for himself as a painter in New York City, where he was also recognized as an etcher, teacher and writer.  He studied at the National Academy of Design and, in 1921, received a fellowship from the Louis Comfort Tiffany Foundation.  A member of the American Artists Congress, Raskin’s work was exhibited at the Schervee Gallery (Boston) in 1927, Tricker Gallery in 1939, the Schneider-Gabriel Gallery in 1941, Steinway Hall in 1942, and the American Artists Association in 1945.  Raskin’s work may be found in several museum collections including the Carnegie Institute in Pittsburgh, the Pennsylvania Academy of Fine Arts in Philadelphia, the Virginia Museum of Fine Arts in Richmond, and the Corcoran Gallery of Art  and National Academy of Design, both in Washington, D.C.