Product Description
Vienna Secession, Gisela von Falke Covered Box c. 1905
GISELA VON FALKE (b. 1874) Austria
BERNDORFER METALLWARENFABRIK Berndorf, Austria
Covered box c. 1905
Hand hammered silver-plated box with a stylized floral motif and a riveted buttress handle design, mint green suede interior
Marks: Kayser (in a rectangular box with an arch encircling an eagle above)
For more information on Berndorfer Metallwarenfabrik see: Blühender Jugendstil – Österreich (Art Nouveau in Blossom – Austria), Firmen und Marken (Companies and Marks), Waltraud Neuwirth, II (Vienna: Selbstverlag Neuwirth, 1991), p. 221; Metallkunst, Kunst vom Jugendstil zur Moderne (1889-1939), Karl H. Bröhan (Berlin: Bröhan Museum, 1990) pp. 20-44.
W: 6 1/4″ x D: 5 1/2″ x H: 2″
Price: $4,800
Vienna Secession, Gisela von Falke Covered Box c. 1905
CHRISTOPHER DRESSER (1834-1904) UK
HEATH & MIDDLETON Birmingham, England
Claret jug 1881
Very rare model in sterling silver with a bone handle, crystal body
Marks: JTH JHM, Reg. mark for May 9, 1881, London assay marks for 1881 (“F” in a shield)
Illustrated: Truth, Beauty, Power: Dr. Christopher Dresser 1834-1904, exhib. cat. Historical Design, Inc. (New York, 1998) p. 63
This signature Dresser claret jug appears in Nikolaus Pevsner’s landmark book from 1936 entitled “Pioneers of Modern Design”.
H: 8 3/8″
TIM LIDDY (b. 1963) Missouri
“Lie Cheat and Steal” (1971) The Game of Political Power 2006
Oil and enamel on copper, plywood back
Signed in script: Tim Liddy “circa 1971” 2006, red circular ring
Provenance: William Shearburn Gallery (St. Louis, MO)
H: 12” x W: 9” x D: 2”
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.