Three-Tier Table with Marble Inserts in the Manner of JMF

Art Deco mirror, circa 1925, in the manner of Edgar Brandt.

A very handsome letter holder in beautifully patinated leather with fine stitching.

Burnt bamboo inlays adorn the front and back panels with chrome side and top.

A set of three prints by influential American artist Elaine Sturtevant, studying circular motion and riffing/ripping (depending on your views on copyright) off the works of Robert Rauschenberg, Marcel Duchamp and Alexander Calder. Labelled and Each signed 'Sturtevant' and from an edition of 60. Sturtevant was born in Lakewood, Ohio (USA) and spent the first years of her artistic life working in New York - where in 1956, she began to manually reproduce paintings and objects created by her contemporaries with results that cannot immediately be identified from an original. Sturtevant intentionally turns the concept of originality on its head... All of her works are copies of the works of other artists; none is an original. She initially focused on works by such American artists as Roy Lichtenstein, Claes Oldenburg, Jasper Johns, and Andy Warhol. In the late 1960s, she concentrated on replicating works by Joseph Beuys and Duchamp. Since the early 1980s, she has focused on the next generation of artists, including Robert Gober, Anselm Kiefer, Paul McCarthy, and Felix Gonzalez-Torres. She masters painting, sculpture, photography and film in order to produce a full range of copies of her chosen artist's work. In most cases, her decision to start copying an artist happened before those artists achieved broader recognition. Nearly all of the artists she chose to copy are today considered iconic for their time or style. This has given rise to discussions amongst art critics on how it has been possible for Sturtevant to identify these now famous artists at such an early stage. A notable incident in her career emphasizes just *how* technically talented she is at assimilation and reproduction of an artistic style: In 1965 a Jasper Johns flag...