Marsh & Co. San Francisco, “Paisley” brooch with a blackened steel dramatic outline on an elaborate 18k gold frame and back in the shape of a paisley pave set with full cut round diamonds of (approx. 3.5-4 carats TW), c. 1950’s
G.T. Marsh was established in 1876 in San Francisco, CA as one of the first purveyors of Japanese art and antiques. In the early 30’s Marsh, with the help of his Italian bench jeweler settled on a unique style that will always be indicative of the firm. Instead of using gold or platinum, the jeweler, who was interested in gun-smithing, created a line of jewels using sandblasted steel finished with gun bluing. This resulted in a rich dark mat black finish. Chased or milegrained white gold or platinum offset pearls, jade or diamonds set against the black ground of the steel. Movement also played a part in the design. Hinged pearls or gemstones added yet another distinct element to the work or exceptionally strong contrasting graphics. The use of diamonds on a grander scale with the dramatic outline of a classic paisley form, places this brooch mid-century and at a time when Marsh’s Jewelry boutique was particularly flourishing in the Bay area.
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 Monopoly (1936) A Parker Trading Game 2007 Oil and enamel on copper, plywood back
TIM LIDDY
“Monopoly” (1936) A Parker Trading Game 2007
Oil and enamel on copper, plywood back
Signed in script: Tim Liddy “circa 1936” 2007, red circular ring
Provenance: Kidder-Smith Gallery (Boston, MA)
H: 7 5/8” x W: 6 ½” 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.
@hd_jewels