Boucheron “Renaissance Revival” cuff / bracelet, attributed to a design by Paul Legrand and made by Tissot, highly sculptural gold inlay, damascene steel set with an intricately agate carved cameo c. 1878
Champagne “Mughal” Diamond ring, Round rose cut fancy light to fancy brownish yellow natural color center diamond (G.I.A. certificate, 5.50 carats) encircled with 12 old mine cut brilliant diamonds (G.I.A. certificate, near colorless approx. 8 carats TW) and 12 small round old mine cut diamonds all set in white and yellow gold, mid 19th Century
Somalia African Tribal Wood Headrest, Early to mid 20th Century
SOMALIA
Head rest early to mid 20th Century
Carved wood with rich natural patina
H: 4 3/4″ x W: 13″
Headrests are used by both Somali men and women while resting or sleeping. It is popularly believed that the headrest serves a protective function by elevating the head off the ground during sleep, thereby preventing any possible attack by snakes or scorpions. Men’s headrests, such as this one, generally feature a smaller base that makes them somewhat unstable to sleep on, while the rectangular bases of women’s headrests are usually more stable. Scholars suggest that this instability is purposeful as it prevents the user from falling into a deep sleep while guarding the herds at night. It is in this sense that the headrest itself has become a symbol of vigilance among Somali nomads. Headrests also play an important role in the nuptial ceremonies of Somali nomads. On his wedding night, the groom places the tubash (a sum of money) under the bride’s headrest. The morning after the marriage is consummated, the bride will use this money to purchase an amber necklace, the symbol of her new status.
African Tribal Nupe stool Nigeria, early to mid 20th Century
NUPE TRIBE, Nigeria
Nupe stool, Nigeria early to mid 20th Century
Hand carved and decorated wood with a rich developed brown black patina.
This finely hand carved African stool was created by the Nupe tribe of Nigeria. The stool is carved from one piece of wood with intricate refined geometric patterns carved into the top and has seven tapered legs.
Tim Liddy Oy Vey (1979) The game where you become a JEWISH MOTHER! Get your sons to become doctors—Get your daughters married to doctors! If not, OY VEY! 2008 Oil and enamel on copper, plywood back
TIM LIDDY
“Oy Vey” (1979) The game where you become a JEWISH MOTHER! Get your sons to become doctors—Get your daughters married to doctors! If not, OY VEY! 2008
Oil and enamel on copper, plywood back
Signed in script: Tim Liddy, red circular ring, “circa 1979”, 2008
Provenance: William Shearburn Gallery, St. Louis, MO
H: 10 ¼” x W: 20 ½” x D: 1 ¾”
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.
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