- HECTOR AQUILAR TAXCO MEXICAN SILVER
HECTOR AQUILAR TAXCO MEXICAN SILVER BELT BUCKLE Vintage Hector Aquilar Taxco Mexican silver belt buckle, marked: "TAXCO / 990" with maker's mark. 1.62" L x 1.81" W. Approx: 0.81 ozt.
- HECTOR AQUILAR TAXCO MEXICAN SILVER
HECTOR AQUILAR TAXCO MEXICAN SILVER BROOCH / PIN Vintage Hector Aguilar Taxco Mexican silver modern filigree rectangular brooch / pin, marked: "990 / TAXCO" with maker's mark. 2.25" L x 1.75" W x 0.25" H. Approx: 0.68 ozt.
- 1940'S HECTOR AQUILAR TAXCO SILVER LEATHER
1940'S HECTOR AQUILAR TAXCO SILVER LEATHER BELT Vintage 1940's Hector Aguilar Taxco silver "X" and "O" leather belt, marked: "TAXCO / 940" with maker's mark. Belt measures 27.25" L x 2.0" W x 0.25" H. Approx: 7.86 ozt inclusive. Provenance: Property from a Park Avenue estate.
- SILVER. (5) PC. ENGLISH SILVER TEA SERVICE.
SILVER. (5) PC. ENGLISH SILVER TEA SERVICE. 5 piece Victorian era English Silver tea service comprised of a kettle on a footed stand, coffee pot, teapot, sugar bowl, and creamer, all items bear hand chased scroll work, beaded borders and a vacant cartouche. Creamer and sugar have gold washed interiors. Kettle bears a crest of an eagle with a motto of "AQUILA NON CAPTAT MUSCAS" - (THE EAGLE DOES NOT CAPTURE FLIES). With a Birmingham city stamp, maker's mark of Elkington & Co Ltd. and a date letter of 1875. Accompanied by a footed silver plated serving tray with a central heraldic lion. Total approx. weight of all items is 157 troy oz, excluding tray. From a Long Island, NY estate. Dimensions: creamer measures approx. 8.25" h. Condition: Good, with light surface scratches and minor dings/dents. Carved finials exhibit cracks and losses.
- THREE SOUTHWEST SLIP DECORATED POTTERY
THREE SOUTHWEST SLIP DECORATED POTTERY ITEMS Three Southwest slip decorated pottery items: an 'Alfred Aquilar' San Ildefonso figure of an owl 5.75"h; en suite with an owl and a round seed pot, both marked 'Acoma NM'
- LARGE POTTERY SCULPTURE SIGNED CONCEPCION
LARGE POTTERY SCULPTURE SIGNED CONCEPCION AQUILARLarge pottery sculpture signed Concepcion Aquilar , tree of life 23"H
Condition:
Condition: reports for specific items are available by calling Dave Pritchard at 1-740-503-8216 or emailing dave.pritchard@e-merge.com
- TWO PIECE LOT, TO INCLUDE FOVILLE AQUILA
TWO PIECE LOT, TO INCLUDE FOVILLE AQUILA 5-150 ACOUSTIC...Two Piece Lot, to include Foville Aquila 5-150 Acoustic Guitar, circa 1970s, having rosewood sides and back, serial number 71124, along with a Selmer Bach TR-200 trumpet, in original case, serial number 584492.
Condition:
All lots are sold "AS IS" The condition of lots can vary widely and are unlikely to be in a perfect condition. *No credit card payments will be accepted for silver, gold, or jewelry from buyers that have not purchased from our gallery in the past.
- PETER SCHOUTEN(Australian, born 1957)
Golden
PETER SCHOUTEN(Australian, born 1957)
Golden Eagle Aquila chrysaetos , 2001, signed lower right "Peter Schouten 2001", watercolor on paper, 20-3/8 x 31-1/2 in.; white gold leaf frame, 24-3/8 x 35-3/4 in. [Naturalist]
Provenance: The Estate of Peter H. Tillou, Litchfield, Connecticut
Condition:
not examined out of frame, good condition; frame with abrasions
- CHINESE EXPORT ARMORIAL PORCELAIN PLATTER,
CHINESE EXPORT ARMORIAL PORCELAIN PLATTER, D'AGUILARcirca 1780, of rectangular form, canted corners, central arms of D'Aguilar of London, left side lower half ground iron red with gilt eagle, above three green pear trees on white ground, impaling Lousada, on the right blue ground, central white chevron amongst three doves with gilt wings, surmounted with a crest of a demi lion rampant, having a blue crown, holding a laurel branch, foliate swag border, 7-3/4 in.
Note: "The families of d'Aguilar (sometimes spelled Aquilar) and Lousada were both wealthy sugar planters in Jamaica. The service was made for Joseph Aguilar, a merchant of Jamaica who married about 1745 Rebecca, daughter of Aaron Baruh Lousada of Kingston.
Chinese Armorial Porcelain Volume I , David S. Howard, Faber & Faber, 31 May 1974, p. 631. (attribution updated in a manuscript note by the author).
Provenance: Century House Galleries, London, England (label to base); Heirloom & Howard, Ltd., UK, November 2009; Christopher M. Weld, Essex, Massachusetts
Condition:
discoloration, spotting, wear to paint and gilt decoration, anomalies (as made), scratching, accretion, labels to base, blacklight does not reveal fluorescence
- WHITE GOLD RING W/ ROMAN RUBY INTAGLIO
WHITE GOLD RING W/ ROMAN RUBY INTAGLIO OF EAGLE & SNAKE...Roman, Imperial Period, ca. 1st to 3rd CE. A dazzling ruby intaglio of ovoid form skillfully hand-carved with the image of an eagle holding a snake and set in a modern white gold ring to be wearable. Boasting a brilliant hue of crimson, the impressive intaglio shows the noble bird in flight with both wings spread above him and his tail flared behind him as he grasps the sinuous body of his serpentine adversary with his sharp talons. His petite head bows slightly, perhaps to peck at his prey. This exciting scene is encircled by an inscription containing both Greek and Latin characters. A lovely band of incised symbols adorns the white gold setting of the intaglio, featuring minimalist images of waves, an eye, a flower, a quadruped, a bird, an ox head, an ankh, and others. Size (ring): 0.8" L x 0.6" W (2 cm x 1.5 cm); (intaglio): 0.4" L x 0.3" W (1 cm x 0.8 cm); gold quality: 89% (equivalent to 21K+); weight: 5.1 grams; US ring size: 6
Dramatic depictions of eagles battling serpents were commonplace throughout the Roman empire. These images of the most powerful of birds fighting the most dangerous of reptiles held an almost-cosmic, allegorical significance of the struggle between good - the eagles - and evil - the serpent. Here, as in most examples, good is seemingly victorious.
The eagle by itself was also a highly symbolic animal among the Roman military and was a great symbol of pride and victory in the eyes of the legions. Known as "aquila" in Latin, the eagle was a representation of honor, victory, and cohesiveness within a legion. One member of each legion was referred to as an aquilifer, or "eagle-bearer," as it was their primary duty to carry and protect that legion's designated eagle standard. If ever an aquila was lost or stolen, it was the primary obligation of the aquilifer to go to any lengths to recover the standard and see to its safe return. Losing an eagle standard was considered a grave omen for its respective legion and would typically lead to distrust and paranoia among the legionaries. To quote a piece of historical fiction set in Roman Britain entitled The Eagle of the Ninth (Rosemary Sutcliff, 1954), "Eagle lost, honor lost; honor lost, all lost."
This piece has been searched against the Art Loss Register database and has been cleared. The Art Loss Register maintains the world's largest database of stolen art, collectibles, and antiques.
Provenance: East Coast collection, New York Gallery, New York City, New York, USA, acquired before 2010
All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.
A Certificate of Authenticity will accompany all winning bids.
PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm.
Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping.
#159458
Condition:
Intaglio is ancient and set in modern white gold ring to be wearable. Interior of ring has 6 indentations. Some light abrasions and softening of detail to intaglio. Otherwise, intact and excellent.
- FRANCESCO FARAONNIUS AQUILA (Italian
FRANCESCO FARAONNIUS AQUILA (Italian 1676-1740) ENGRAVING AFTER JOANNES LANFRANEAS: The work entitled ''The Bark of St. Peter''. ''O Man of Little Faith, Why Did You Doubt''. Francesco Faraone Aquila worked in Rome from 1690-1740. His engravings are numerous and highly esteemed. Beautiful custom burlwood and gold gilt framing. Sight 22'' x 18'', framed 36.5'' x 32''. Provenance: Estate of Dr. Peter J. Fischinger, M.D., Ph.D., former Associate Director, National Cancer Institute.
- AFTER ANTONIO CANOVA (ITALIAN 1757-1822)
HERCULES
AFTER ANTONIO CANOVA (ITALIAN 1757-1822)
HERCULES AND LICHAS bronze, dark brown patina, signed 'Delafontaine, bronzier' and with Canova signature to the base27cm wide, 42cm high, 20.5cm deep‘The importance and value of Canova's art is now recognized as holding in balance the last echo of the Ancients and the first symptom of the restless experimentation of the modern age.’ - Art Historian Giuseppe PavanelloAntonio Canova (1757- 1822) was a prominent Italian Neoclassical sculptor, mostly celebrated for his work in marble. Canova began producing works in marble before the age of ten, before enrolling in the Accademia di Belle Arti di Venezia around 1772. Canova won numerous prizes and received several commissions, which led to him opening his own studio at Calle Del Traghetto at S. Maurizio in 1779. From this point, Canova travelled to and worked in several European cities, before returning to Italy in 1816, where he continued to work until his death in 1822.Due to his success, Canova received many commissions and no longer had to rely on funerary monuments for large-scale work, and could explore large freestanding classical figures, such as his ‘Hercules and Lichas’ from 1795- 1815, commissioned by Onorato Gaetani dell’Aquila d’Aragona. Often inspired by antiquity, Canova was known for reviving classical works in a way that avoided melodrama of antiquity and the artificiality of Neoclassicism. The tale of Hercules and Lichas is recounted in book IX of Ovid’s Metamorphoses: Hercules puts on a shirt poisoned with Nessus’ blood, and, driven mad by the pain, thinks that his servant Lichas is to blame. Lichas tried to explain his innocence, however Hercules threw him into the waves of the Euboic Sea. The original statue is now conserved in the National Gallery of Modern Art in Rome.Canova is often regarded as the greatest Neoclassical artist, which is evidenced by his series of important international patrons including Napoleon Bonaparte, and Popes Pius VI and VII. His work is held in many institutions including the Metropolitan Museum of Art in New York, the Louvre in Paris, and the Hermitage Museum in Saint Petersburg.