Silver-plated copper with with red patinated squares and rectangles on a black-patinated textured background
Marks: WMF castle mark, IKORA
Illustrated: WMF Ikora Metall / Metalwork, Carlo Burschel and Heinz Scheiffele (Stuttgart, Germany: ARNOLDSCHE, 2006), p. 142, 90/585.
For more information see: WMF Glas Keramik Metall 1925-1950, Jörg Schwandt, (Berlin: Kunstgewerbemuseum, Staatliche Museum Preussischer Kulturbesitz, 1981). Metallkunst, Band IV (Berlin: Bröhan-Museum, 1981) pp. 546-579.
Edmund F. Ward “The Swimming Hole” Oil on canvas c. 1930
EDMUND F. WARD (b. 1892 – 1991) USA
“The Swimming Hole” c. 1930
Oil on canvas
Marks: signed Edm. F. Ward (lower right); partial labels verso:Westchester Arts and Crafts Guild; 4 Edmund F. Ward
For more information on the artist see: Who Was Who in American Art,Peter Hastings Falk, ed. (Madison, Conn.: Sound View Press, 1985), p. 658.
Canvas H: 18” x W: 24”
Framed H: 27 9/16” x W: 33 9/16”
Price: $14,000
Ward studied at the Arts Student’s League with Edward Dufner, George Bridgeman, and Thomas Fogarty. He was an illustrator for several national magazines and books. In 1925, Ward exhibited an award winning work at the Art Institute of Chicago. He is perhaps best known for his WPA mural in the Federal Building, White Plains, New York.
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.
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).
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