Franz Bergman (attr.) Bronze Bull Pen Wipe c. 1900More Information
Franz Bergman (attr.) Bronze Bull Pen Wipe c. 1900
Franz Xaver Bergman (1861–1936) (attr.) Vienna, Austria.
Bull pen wipe c. 1900
Cold painted bronze, boar’s hair bristles, horn.
For information see: Art Bronzes, Mich. Forrest (Schiffer, 1988).
H: 5 1/4” x L: 11”
Franz Xaver Bergman (1861–1936) was the owner of a Viennese foundry who produced numerous patinated and cold-painted bronze Oriental, erotic and animal figures, the latter often humanized or whimsical, humorous objects d’art.
A well-known anamalier at the turn-of-the century, the sculptor Franz Bergman created a number of small bronzes in a variety of subject matter. Other figurative works were informed by the Jugendstil/Art Nouveau style and the European taste for the exotic as is found in his figures of rug merchants and camels. His animal sculptures, however, capture the Viennese tradition of naturalistic bronzes. The quality of the bronze casting shows tremendous detail, which was carefully brought out through the applied patination process known as cold painting.
Tim Liddy, The Barbie Game (1960) Queen of the Prom, Oil and enamel on copper, plywood back 2007
TIM LIDDY (b. 1963) Kirkwood, Missouri
“The Barbie Game” (1960) Queen of the Prom 2007
Oil and enamel on copper, plywood back
Signed in script: Tim Liddy “circa 1960” 2007, red circular ring
Provenance: Kidder-Smith Gallery (Boston, MA)
H: 9 5/8” x W: 22 ¼” x D: 1 ½”
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.
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