HENRI MATISSE (1869-1954) France
“Pasiphae” 1944
Limited edition No. 48/250.
Published by Martin Fabiani, Paris.
Dimensions:
Book: H: 13 3/16” x W: 10 3/8”
Custom leather box: H: 15 1/4” x W: 11 11/16” x D: 2 5/8”
Custom cloth slipcase: H: 16 1/8” x W: 12 3/16” x D: 3”
Signed by Matisse on the justification page.
Matisse’s Pasiphae is a singularly thrilling work and the plates were destroyed after the printing of this edition.
“A Contemporary retelling of the story of Parisphae and the Minoan bull was the impetus for one of Matisse’s most intensive printmaking experiences. Working with linoleum, a fairly easy material to use, Matisse cut many blocks of each image to achieve the perfect flow of line and relationship of forms. Intent on matching the spirit and ambience of the classical tale, Matisse took as his model ancient Greek playground vase painting”.
Fulco di Verdura for Paul Flato “Bow” bracelet, 18K yellow gold set with 57 cabochon rubies (approx. 55 carats TW) and 57 round diamonds (approx. 7.50 carats TW) c. 1938
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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