Product Description
Hunt and Roskell (1843-1897) Wide 18k gold bracelet in a delicate crisscross design with woven gold borders and set with 192 cabochon turquoise jewels, original signed embossed brown leather presentation box, c. 1875
Jewellers and Goldsmiths to Queen Victoria. Successors to Mortimer & Hunt on the retirement of John Mortimer but still trading until 1876. Hunt & Roskell, a firm of manufacturing and retail jewellers and silversmiths, was founded by Paul Storr in 1819, trading as Storr & Co. (1819-1822), Storr & Mortimer (1822-1838), Mortimer & Hunt (1838-1843) and then Hunt & Roskell (1843-1897). Hunt & Roskell had retail premises at 156 New Bond Street and a manufactory at 26 Harrison Street, near Clerkenwell. John Samuel Hunt, who had assisted Storr from the start, continued as a partner until his death in 1865. J. S. Hunt was then succeeded by his son, John Hunt (d.1879). Robert Roskell, formerly a watchmaker and merchant of Liverpool, joined in 1844 and remained in the firm until his death in 1888. In 1889 the firm was taken over by J.W. Benson and continued in business as Hunt & Roskell Ltd.
Hunt and Roskell (1843-1897) Wide 18k gold bracelet in a delicate crisscross design with woven gold borders and set with 192 cabochon turquoise jewels, original signed embossed brown leather presentation box, c. 1875
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.