Raymond Subes / French Art Deco Wrought Iron Coffee Table c. 1935
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Raymond Subes / French Art Deco Wrought Iron Coffee Table c. 1935
Raymond Subes (1893-1970), France.
Coffee table, circa 1935.
Wrought iron, beige, ecru, and dark brown Afghanistan jasper top.
Related work illustrated: R. Subes, Ferronnerie Moderne (Paris: Editions Vincent, Fréal et Cie., n.d. [c. 1937]).
For more information see: Art Deco, Victor Arwas, (New York: Harry N. Abrams, Inc., 1980) p. 305; Encyclopedia of Art Deco, ed. Alastair Duncan, (New York: E.P. Dutton, 1988.) p. 152, 167.
H: 19 1/3” x D: 35 1/2”
Price: $38,000
During the 1930s, Raymond Subes became one of the foremost designers of wrought iron in his native Paris. Subes studied at the Ecole Boulle and the Ecole des Arts Décoratifs before going to work for Emile Robert, a leading ironwork designer. He later became the artistic director of Borderel et Robert. At this venerable firm he created iron grills and doors for architectural commissions, many of which may still be seen all over Paris. His work was exhibited at the Paris 1925 Exhibition of Decorative Arts and he designed the wrought ironwork for the ill-fated ocean liner the Normandie. Subes’ early work was ornate and naturalistic, but gradually became more geometric and linear. This Art Deco table is a particularly lyrical example of his mature style, with its gracefully scrolling iron legs.
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
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.
Signed: Leontyne Price as Bes, Porgy & Bess, XVII KK 20, May 19, 53 (in ink on back); PHOTOGRAPH BY CARL VAN VECHTEN, 101 CENTRAL PARK WEST, CANNOT BE REPRODUCED WITHOUT PERMISSION (ink stamp on back)
Hubert Schmalix “Mount Washington” Oil on Canvas 2005/2006
HUBERT SCHMALIX (1952-) Austria
Mount Washington 2005/06
Oil on canvas
Signed and dated on back: Schmalix 05 06
Provenance: Hubert Schmalix Vienna
For related works by Hubert Schmalix see: Hubert Schmalix, Lóránd Hegyi exhibition catalog (Museum moderner Kunst Stiftung Ludwig Wien) November 19, 1994 – January 1995.
H: 69” x W: 51”
Hubert Schmalix was born in Graz, Austria, on December 17, 1952 and studied at the Vienna Art Academy from 1971 to 1976. By 1979 Schmalix was showing work at the forward-looking exhibition ‘Europa 79 – Kunst der 80er Jahre’ in Stuttgart. In 1983 the London Tate Gallery invited Schmalix to present work at ‘New Art’, an important survey of contemporary art. Schmalix has become well-known world-wide as an exponent of ‘New Art’, working with a retrospective glance at both classical art history and modern art. Schmalix focuses on the world of things and the human figure. Although the expressive gesture was the dominant feature of his 1980s work, it yielded early in the 1990s to stringent tectonic composition. In 1984 Hubert Schmalix went to the Philippines and on to the US, moving to Los Angeles in 1987. In 1986-87 Schmalix taught at the Academy for the Decorative and Applied Arts in Vienna and from 1997 he has been a professor at the Vienna Art Academy. Schmalix is a visiting professor at the University of California Los Angeles (UCLA). In 1993 his work was featured at the Venice Biennale and in 1998 he was awarded the Fine Art Prize of the City of Vienna. Schmalix has done several large fresco cycles in Salzburg and his work has been shown extensively at numerous international solo and group shows and most recently at Art Basel 2006.
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