Related Products

• 

  Details

  Jean E. Puiforcat / French Art Deco Sterling Box c.1930

  JEAN E. PUIFORCAT  (1897-1945)  France
  ORFÈVRERIE PUIFORCAT  Paris, France

  Sterling silver with sterling and bone gear-like finial detail

  Marks:  JEAN E. PUIFORCAT, French Guarantee mark for 950/1000 pure silver, E.P. insignia (Emile Puiforcat)

  For related works of Puiforcat see: Jean Puiforcat, Françoise de Bonneville (Paris:  Editions du Regard, 1986) p.171; Jean Puiforcat:  Orfèvre Sculpteur (Paris: Flammarion,1951).

  H: 3 1/4″ x Dia: 3 1/2″

  Jean E. Puiforcat is the most famous name of Art Deco silverwork. This is a gently tapered round footed and covered box of beautiful form and proportion with a contoured gear-like bone and silver finial. Overall it is a signature example of French Art Deco silver and dates from the late 1920’s and bears the early mark of Jean E. Puiforcat spelled out in addition to all of the appropriate French silver standard touchmarks. It is a really perfect example of French Art Deco silver by the French master of them all, Puiforcat!

• 

  Details

  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.