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  Peter Canty, “Pacific Cove”, Oil on canvas

  Peter Canty received his BA in art from the Chouniard Art Institute, Los Angeles (now California Institute of the Arts) and an MA from the University of California, Santa Cruz in 1969. Heavily influenced by the Post-Impressionist masters Van Gogh, Gauguin and Cezanne, in his own he words he describes his interest in landscapes, believing they are, “the best vehicle for motion, force, and color dynamics.” Although his work reference realistic subjects, Canty’s imagery is drawn strictly from his own imagination.

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  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.

   

   

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  Antonio Pineda “Split” ring, sterling and onyx, signed c. 1960

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  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.