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  Josef Hoffmann / Wilhelm and Johann Jonasch / Vienna Secession Game table c. 1913

  JOSEF HOFFMANN  (1870-1956)  Austria
  WILHELM AND JOHANN JONASCH  Austria

  Game table with four drawers     c. 1913

  Oak, leather top with gold tooled detail

  Made by Johann Jonasch (Kunsttischler)

  Illustrated: Vienna 1900-1930, Art in the Home,
  exhib. cat. Historical Design, Inc. (New York, 1996), p. 60-1.

  Matching dining table illustrated in: Österreichische Werkkultur,
  Max Eisler (Wien: Kunstverlag Anton Schroll & Co., 1916) p. 97.

  Related tables by Hoffmann illustrated: Deutsche Kunst und Dekoration, April-September 1914, p. 140-4; Deutsche Kunst und Dekoration, April September 1916, pp. 199-200;  Deutsche Kunst und Dekoration, Oct.-March 1917, p. 207-8; Möbel des Jugendstils: Sammlung des Österreichischen Museums für angewandte Kunst, Vera J. Behal (Munich: Prestel-Verlag, 1981), pp. 143-5; Josef Hoffmann e la Wiener Werkstätte, Daniele Baroni and Antonio D’Auria (Milan: Electa Editrice, 1981). pp 124-125.

  H: 31” x W: 27 3/4” x D: 27 3/4”

  Price: $35,000

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  Tim Liddy Who Can Beat Nixon (1970) Presidential Sweepstakes 2006 Oil and enamel on copper, plywood back

  TIM LIDDY

  “Who Can Beat Nixon” (1970) Presidential Sweepstakes 2006

  Oil and enamel on copper, plywood back

  Signed in script: Tim Liddy “circa 1970” 2006, red circular ring

  Provenance: William Shearburn Gallery (St. Louis, MO)

  H: 11 ¾” 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.