Raymond Subes / French Art Deco Wrought Iron Coffee Table c. 1935
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Raymond Subes / French Art Deco Wrought Iron Coffee Table c. 1935
Raymond Subes (1893-1970), France.
Coffee table, circa 1935.
Wrought iron, beige, ecru, and dark brown Afghanistan jasper top.
Related work illustrated: R. Subes, Ferronnerie Moderne (Paris: Editions Vincent, Fréal et Cie., n.d. [c. 1937]).
For more information see: Art Deco, Victor Arwas, (New York: Harry N. Abrams, Inc., 1980) p. 305; Encyclopedia of Art Deco, ed. Alastair Duncan, (New York: E.P. Dutton, 1988.) p. 152, 167.
H: 19 1/3” x D: 35 1/2”
Price: $38,000
During the 1930s, Raymond Subes became one of the foremost designers of wrought iron in his native Paris. Subes studied at the Ecole Boulle and the Ecole des Arts Décoratifs before going to work for Emile Robert, a leading ironwork designer. He later became the artistic director of Borderel et Robert. At this venerable firm he created iron grills and doors for architectural commissions, many of which may still be seen all over Paris. His work was exhibited at the Paris 1925 Exhibition of Decorative Arts and he designed the wrought ironwork for the ill-fated ocean liner the Normandie. Subes’ early work was ornate and naturalistic, but gradually became more geometric and linear. This Art Deco table is a particularly lyrical example of his mature style, with its gracefully scrolling iron legs.
Art Deco “Fire Opal” necklace, frosted rock crystal round beads and four sided custom rock crystal bezels set in 18K yellow gold with 16 round–cut accent diamonds featuring five large natural fire opals (G.I.A certificate, dimension of each fire opal, 13.00 x 8.15 x 6.20mm for a TW of approx. 17.50 carats), c. 1940’s
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.
Tim Liddy, Lie Cheat and Steal (1971) The Game of Political Power Oil and enamel on copper, plywood back 2006
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.
György Kepes, Abstraction, Gelatin silver print, 1942
GYÖRGY KEPES (1906-2001) Hungary/USA
Abstraction 1942
Silver gelatin print
Signed: 9 (in a circle, on back); Gyorgy Kepes 1942 (in ink on back)
György Kepes was a Hungarian-born painter, designer, educator and art theorist. After emigrating to the U.S. in 1937, he taught design at the New Bauhaus (later the School of Design, then Institute of Design, then Illinois Institute of Design or IIT) in Chicago. In 1947 He founded the Center for Advanced Visual Studies at the Massachusetts Institute of Technology (MIT) where he taught until his retirement in 1974.
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