Marcel Bouraine, Pair of French Art Deco “Dove” Bookends c. 1930
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Marcel Bouraine, Pair of French Art Deco “Dove” Bookends c. 1930
Marcel Bouraine (active 1925-1930) France.
Pair of Art Deco “Dove” sculptural bookends, circa 1930.
Silvered bronze (sand cast technique) in the form of doves with openly displayed and fan shaped tail feathers perched on roof pan tiles.
Marks: Bouraine (2x), #’s 52 and 53.
For more information and other works by Bouraine see: Les Echoes D’Art (May 1927), p. 21; Art Deco Sculpture, Bryan Catley; The Art Deco Style, Selected by Theodore Menten (New York: Dover Publications, 1972), p. 172; Dictionnaire critique et documentaire des Peintres, Sculpteurs, Dessinateurs et Graveurs, E. Bénézit, vol. 2 (Paris: Librarie Grund, 1976), p. 231, An Encylopedia of Art Deco, Edited by Alastair Duncan (New York: E.P. Dutton, 1988) pp. 26,28-29,31,104; Art Deco, Victor Arwas (New York, Harry Abrams,1980) pp. 163, 269.
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.
Karl Benjamin, “Geo-metricized figure”, Oil on canvas 1954
KARL BENJAMIN (1925-2012) USA
Geometricized figure 1954
Oil on canvas
Signed: Benjamin 54 (lower left)
For more information see: Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs, Vol. 1 to 10, E. Bénézit (Paris: Librairie Gründ, 1976).
Canvas: H: 17″ x W: 6″
Framed: H: 24 1/2″ x W: 13 1/2″
Karl Benjamin was born in Chicago, IL in 1925. He received his BA from the University of Redlands, CA and his MFA at Claremont Graduate School, CA. Benjamin belonged to the Hard Edge group of West Coast painters led by John McLaughlin during the 1950s, 60s and early 70s. He was awarded the National Endowment for the Arts Grant for Visual Arts in both 1983 and 1989. His work has been featured in numerous museum exhibitions and is included in the public collections of the Los Angeles County Museum of Art; Museum of Contemporary Art, Los Angeles; Museum of Modern Art, Israel; Oakland Museum, Oakland, CA; San Francisco Museum of Modern Art, CA; Seattle Art Museum, WA; and the Whitney Museum of American Art, NY, among others. For many years, Benjamin taught painting at Pomona College and Claremont Graduate School, and currently is Professor Emeritus. He lived in Claremont, CA.
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