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  Hector Guimard for Maison Coilliot / Art Nouveau glazed lava tile 1898

  HECTOR GUIMARD  (1867-1942) France
  MAISON COILLIOT Lille, France

  Tile c. 1898

  Fired and glazed lava with abstract whiplash motifs in various tones of aqua blue on the obverse and a partial graphic on the reverse with polychrome floral and linear details.

  Marks: 16 (on top of tile)

  French architect Hector Guimard (1867-1942) realized the decorative possibilities of glazed lava, a substance made from mixing pulverized lava with clay when he built a villa for Louis Coillot, (1898-1900) a ceramics manufacturer in Lille who monopolized the distribution of the material. Guimard sided the entire facade of Maison Coilliot in lava stone.

  ***A related glazed lava tile from the Castel Henriette is in the Collection of the Musee d’Orsay.

  The Maison Coilliot is an Art Nouveau house located on 14, rue de Fleurus in Lille, France. Louis Coilliot, a French ceramic entrepreneur, was fond of enameled lava and wanted to popularize the technique. To do so, Coilliot commissioned Hector Guimard, an architect he’d met at the 1897 fair La Céramique et tous les arts du feu, (“Ceramic Arts & Glass Making”), to apply the technique to his house’s façade. Coilliot’s factory and warehouse were located to the rear of his house, and therefore the façade held a double
  purpose, both decorating the front of his home and advertising his business.

  For more information see: Hector Guimard, 1867-1942: Architektur in Paris um 1900 (Munich: Museum Villa Stuck, 1975)

  H: 25 1/2″ x W: 14″ x D: 9/16″

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  Tim Liddy, Learn to Design Kit with Charles and Ray Eames 2012

  TIM LIDDY (b. 1963) Missouri

  Tim Liddy, “Learn to Design” Kit with Charles and Ray Eame, Presented by Herman Miller Furniture Company, Zeeland, Michigan, Set pieces are moulded by Zenith Plastics Co., Gardena, California

  Signed: Tim Liddy (red circle), To Everyone at HD! 2012

   

  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.