Related Products

• 

  Details

  Marcel Bouraine, Pair of French Art Deco “Dove” Bookends c. 1930

  Marcel Bouraine (active 1925-1930) France.

  Pair of Art Deco “Dove” sculptural bookends, circa 1930.

  Silvered bronze (sand cast technique) in the form of doves with openly displayed and fan shaped tail feathers perched on roof pan tiles.

  Marks: Bouraine (2x), #’s 52 and 53.

  For more information and other works by Bouraine see: Les Echoes D’Art (May 1927), p. 21; Art Deco Sculpture, Bryan Catley; The Art Deco Style, Selected by Theodore Menten (New York: Dover Publications, 1972), p. 172; Dictionnaire critique et documentaire des Peintres, Sculpteurs, Dessinateurs et Graveurs, E. Bénézit, vol. 2 (Paris: Librarie Grund, 1976), p. 231, An Encylopedia of Art Deco, Edited by Alastair Duncan (New York: E.P. Dutton, 1988) pp. 26,28-29,31,104; Art Deco, Victor Arwas (New York, Harry Abrams,1980) pp. 163, 269.

  H: 5 ¾” x W: 4 ½” x D: 3 ½”

• 

  Details

  Tim Liddy, Sorry (1939) The Fashionable English Game, Oil on copper, plywood back 2006

  TIM LIDDY (b. 1963) Missouri

  “Sorry” (1939) The Fashionble English Game 2006

  Oil on copper, plywood back

  Signed in script: Tim Liddy “circa 1939” 2006, red circular ring

  Provenance: Kidder-Smith Gallery (Boston, MA)

  H: 5 1/8” x W: 4 3/16”

  With his recent paintings, Liddy has both reasserted the construct of hyperrealist painting and developed a thoroughly unique advancement of that mode by extending the cultural reality of the indexed original. Based on the illustrated box lids of vintage board games, Liddy has recontextualized a subject, which evokes the underlying rules of life. Painted on copper or steel in the precise dimensions of the original, the metal is then manipulated to demonstrate the exact rips and tears from years of usage and includes trompe-l’oeil renditions of the scotch tape that might be holding the cardboard box together, the assorted stains, or the various graffiti of time. Liddy leaves no possibility of ambivalence, these works speak to a concurrent understanding of their original object identity and to themselves as works of art engaged in historical and psychological dialogue.