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  Rafael Melendez “Wing” cuff / bracelet, gilt sterling, inlaid abalone shell, signed c. 1940’s

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  Art Deco “Fire Opal” necklace, frosted rock crystal round beads and four sided custom rock crystal bezels set in 18K yellow gold with 16 round–cut accent diamonds featuring five large natural fire opals (G.I.A certificate, dimension of each fire opal, 13.00 x 8.15 x 6.20mm for a TW of approx. 17.50 carats), c. 1940’s

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  Roycroft / American Arts & Crafts Pair of Candlesticks c. 1915

  ROYCROFT COPPER SHOP East Aurora, N.Y.

  Pair of candlesticks c. 1915.

  Hand wrought and textured copper, silver-plated.

  Marks: impressed R, in orb with cross, ROYCROFT

  For more information see: The American Arts & Crafts Movement in Western New York 1900-1928, Bruce A. Austin (Rochester Institute of Technology, 1992); Arts & Crafts Movement in New York State 1890’s – 1920’s, Coy Ludwig (Hamilton, N.Y.: Gallery Association of New York, 1983).

  H: 6″ x W: 6 7/8″ x D: 2 5/8″

   

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  Tim Liddy, Lie Cheat and Steal (1971) The Game of Political Power Oil and enamel on copper, plywood back 2006

  TIM LIDDY (b. 1963) Missouri

  “Lie Cheat and Steal” (1971) The Game of Political Power 2006

  Oil and enamel on copper, plywood back

  Signed in script: Tim Liddy “circa 1971” 2006, red circular ring

  Provenance: William Shearburn Gallery (St. Louis, MO)

  H: 12” 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.