Product Description
Sheets-Rockford Silver Plate Co. / American Art Deco Creamer and sugar on tray c. 1928
SHEETS-ROCKFORD SILVER PLATE CO. Rockford, Ill.
Creamer and sugar on tray c. 1928
Silverplated brass with green bakelite handles
Marks: Rockford logo in circle, E.P.N.S. 1529 (marks on both creamer and sugar), Rockford logo in circle, E.P.N.S. 15115 (on tray)
Tray: L: 11 7/8” x W: 8 3/8”
Sugar: H: 3 1/8” x W: 4 5/8” x D: 2 ¼”
Creamer: H: 3 1/8” x W: 4 3/8” x D: 2 ¼”
Sheets-Rockford Silver Plate Co. / American Art Deco Creamer and sugar on tray c. 1928
OSCAR B. ERICKSON (1883 – 1970) American
Early Morning Rockport c. 1940
Oil on canvas
Marks: Original exhibition label verso: THE NORTHWEST ART LEAGUE,
INC., Oscar B. Erickson, Early Morning Rockport, oil
For brief bibliographical listing see: Who Was Who in American Art,
(Madison, Conn.: Sound View Press, 1985), p. 189.
Canvas (sight): H: 21” x W: 23”
Frame: H: 26 1/2” x W: 28 1/2”
Oscar Erickson was born in Milwaukee, Wisconsin. He studied painting and printmaking at the Milwaukee Art League and later at the Herron Art Institute of Chicago. He exhibited at the Chicago Academy of the Fine Arts, the Hoosier Salon from 1927 to 1942, the Illinois State Museum, and the Norwegian Club.
TIM LIDDY (b. 1963) Missouri
“Sorry” (1939) The Fashionble English Game 2006
Oil on copper, plywood back
Signed in script: Tim Liddy “circa 1939” 2006, red circular ring
Provenance: Kidder-Smith Gallery (Boston, MA)
H: 5 1/8” x W: 4 3/16”
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.