Product Description
Hunt and Roskell in alliance with J. W. Benson 18k gold pomander / vinaigrette in the form of an apple, marked, original red leather box, c. 1897

Hunt and Roskell in alliance with J. W. Benson 18k gold pomander / vinaigrette in the form of an apple, Marked: 307049 (British Registration mark), J.W.B. makers mark and British gold hallmarks original red leather box, c. 1897
The Tale of the Golden Apple
It was the wedding of Peleus and Thetis (the parents of Achilles) that the Goddess Elis threw a golden apple into the assembled crowd. Upon the surface of the fruit was etched “To The Faires”. Three goddesses laid claim upon the apple; Aphrodite, Hera and Athena. It was decided by Zeus, king of the Gods, that Paris of Troy should mediate the dispute. After bathing in the spring of Mount Ida, the three presented themselves to Paris. It was decided that Aphrodite, the Goddess of love and beauty, had the superior claim and that the golden apple belonged to her.
Hunt and Roskell in alliance with J. W. Benson 18k gold pomander / vinaigrette in the form of an apple, marked, original red leather box, c. 1897
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.