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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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  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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  Gertrude Burgess Murphy American Modern Post-War Reclining nude sculpture c. 1950

  GERTRUDE BURGESS MURPHY (b. 1899) USA

  Reclining nude sculpture c. 1950

  Fired and glazed earthenware on a wooden base

  Marks: original paper exhibition label (San Francisco Museum of Art, Rental Gallery); tape with the name of the artist

  For more information on Murphy see: Who Was Who in American Art, ed. Peter Hastings Falk (Madison, Conn.: Sound View Press, 1985), p. 439.

  H: 5 7/8” x L: 10 5/8” x D: 5”

  Price: $11,500