Charles Catteau / Boch Freres Keramis Belgium Glazed pottery vase c. 1930
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Charles Catteau / Boch Freres Keramis Belgium Glazed pottery vase c. 1930
CHARLES CATTEAU (1880-1966)
BOCH FRERES KERAMIS La Louviere Belgium
Tulip vase c. 1930
Glazed earthenware
Marks: “Keramis” Made in Belgium , D. 2524 B, 945
H: 10 1/4″ x D: 6 1/2″
Charles Catteau could be regarded as one of the most versatile ceramic artists of his generation, especially for the style of Art Deco. Catteau advanced the forms, techniques and decoration of modern ceramics, creating an exceptionally original, new and decorative genre.
Hired as a ceramic decorator in Ecole Nationale de Sèvres from 1903 to 1904, he began producing designs that were rather traditional, based on the observation of nature, and showing the influence of Japonisme, characterized by pure lines and meticulous details. From 1904 to 1906, he worked in Nymphenburg Porzellan Manufaktur near Munich, a factory specializing in new hand painting procedures under a slip, as well as Art Nouveau.
In 1907 he finally moved to Louvière in Belgium where he was promoted to head of the decoration department at Boch Freres Keramis at the age of 27. This is where most of his exceptional talent came to the fore especially during the period between the two World Wars. Influenced by the great creative art movements of the time (Africanism, Japonisme, Cubism, Abstraction) and his observation of nature gave him inspiration for his designs, with the integration of plants, stylized animals and geometric motifs. The international avant-garde movements were also an influence leading to his use of purely abstract, geometric designs and intense colors. Charles Catteau was incredibly resourceful and explored various harmonies of form, techniques, designs, colors, shades, topics, variants and influences. In this way Catteau became a representative par excellence of Art Deco designs, giving it his personal touch. He was instrumental in introducing technical innovations during the 20’s and 30’s to aid mass production of ceramic products and expand availability of affordable products. During difficult times in Europe, he created vivid, colorful, original and uplifting ceramic wares.
Charles Cotteau motto was “Art for All” and he also taught decorative painting at the School of Industrial in Louvière. In 1925 he obtained international recognition in the exhibition of Decorative Arts in Paris. which helped raise the profile of Boch Freres. He remained at the company until he retired to Nice in 1946 .
Aram Gesar has been published internationally and has exhibited his photographic work in New York, San Francisco, Zurich and Geneva since 1977. As a producer, art director and photographer, Gesar created advertising campaigns for major corporations in the U.S. and Europe focusing on the fields of travel, banking, financial services, aerospace and motion pictures. He also created and produced documentaries on travel, aviation and yachting for national cable networks and the home video markets and television commercials and corporate programs for various U.S. and European corporations.
Gesar is currently one of the leading international experts on travel and air transport, and the founder and CEO of The Pyramid Media Group, which includes several magazines, newsletters, web sites, books, eBooks and other publications integrating a spectrum of business, travel and aviation content.
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.
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