Signed: Xanti Schawinsky 1943 (script signature and date in ink on back of photo)
Photograph: H: 7 7/8” x W: 8”
Frame: H: 16 9/16” x W: 16 9/16”
Price: $24,000
Xanti Schawinsky is usually known either for the activities of his early career, as a young ‘enfant terrible’ of Bauhaus theatre, or for the work he produced at its close as a respected and mature abstract artist. However these two perspectives ignore his tremendous versatility, and the important role he had to play in bringing Modernist ideas to different parts of the inter-war world. Schawinsky was born in Switzerland, the son of a Polish Jew. His creative nature was obvious from an early age, and in his teens he studied art and music in Zurich, before travelling to Berlin and Cologne to learn about design and architecture. In 1924 he enrolled at the Bauhaus, and became involved in the school’s vibrant theatrical scene, also focusing on photography and painting. From the mid 1920s Schawinsky undertook wide range of professional commissions, working as a stage designer, a municipal studio director and a freelance designer. He also returned to the Bauhaus to teach. In 1933 Germany’s growing intolerance forced him to move to Milan, where he spent several years producing commercial graphic design, principally for the typewriter company Olivetti. An invitation to join the progressive Black Mountain College brought him to the USA in 1936. He spent two years at Black Mountain introducing Bauhaus ideas to his American students, before moving to New York to take up freelance design and pursue painting – an activity which absorbed almost all of his attention in his final years. As innovative in commercial art as he was in his unpaid pieces, Schawinsky’s work demonstrated the huge creative power of the inter-war meeting of art and industry.
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.
Archibald Knox / Liberty & Co. Sterling hand mirror 1908
ARCHIBALD KNOX (1864-1933) UK
LIBERTY & CO. London, UK
Hand mirror 1908
Sterling with large matrix cabochon turquoise
Marks: L & Co. cipher, Birmingham assay marks for 1908
Similar works with turquoise Illustrated: Archibald Knox, ed. by Stephen A. Martin (London: Academy Editions, 1995) ; Liberty Design 1874-1914, Barbara Morris (London: Pyramid Books, 1989) p. ; The Designs of Archibald Knox for Liberty & Co., A.J. Tilbrook (London: Ornament Press Ltd., 1976)
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.
Aram Gesar has been published internationally and has exhibited his photographic work in New York, San Francisco, Zurich and Geneva since 1977. As a producer, art director and photographer, Gesar created advertising campaigns for major corporations in the U.S. and Europe focusing on the fields of travel, banking, financial services, aerospace and motion pictures. He also created and produced documentaries on travel, aviation and yachting for national cable networks and the home video markets and television commercials and corporate programs for various U.S. and European corporations.
Gesar is currently one of the leading international experts on travel and air transport, and the founder and CEO of The Pyramid Media Group, which includes several magazines, newsletters, web sites, books, eBooks and other publications integrating a spectrum of business, travel and aviation content.
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