MICHAEL FRARY (1918-2005) CALETA BEACHMICHAEL FRARY (1918-2005) CALETA BEACH WATERCOLORUnframed watercolor painting on paper, "Caleta Beach, Acapulco," signed lower right Frary (Michael Frary, Texas, 1918-2005), titled in pencil verso, 22"h, 30"w
MICHAEL FRARY (1918-2005) WAVES & ROCKSMICHAEL FRARY (1918-2005) WAVES & ROCKS WATERCOLORUnframed watercolor painting on paper, Waves & Rocks, Acapulco, signed lower right Frary (Michael Frary, Texas, 1918-2005), affixed to cardboard backing, 22"h, 30"w
HAND-COLORED LITHOGRAPH MAP PUERTO DEHAND-COLORED LITHOGRAPH MAP PUERTO DE ACAPULCOFramed hand-colored lithograph on paper, "Puerto de Acapulco En El Reino de La Nueva Espana En El Mar del sur" (Port of Acapulco, during the Viceroyalty of New Spain), after the original early 17th century drawing by Dutch engineer Adrian Boot (?-1646), printed in the Florentine workshop of Alejandro Ruffoni, toning and foxing to sheet, sight: approx 19"h, 24"w, overall: approx 20.5"h, 25.5"w, 5.5lbs **Note: a similar map is in the Genaro Garcia Collection at the Benson Latin American Collection at The University of Texas Libraries** **Provenance: From the Estate of University of Texas Professor, Scholar and Poet, Miguel Gonzalez-Gerth (1926-2017)**
MICHAEL FRARY (1918-2005) ACAPULCO BAYMICHAEL FRARY (1918-2005) ACAPULCO BAY WATERCOLORUnframed watercolor painting on paper, Acapulco Bay, signed lower right Frary (Michael Frary, Texas, 1918-2005), affixed to cardboard backing, 22"h, 30"w
LEONARDO NIERMAN (MEXICAN, B.1932) "AVELEONARDO NIERMAN (MEXICAN, B.1932) "AVE FUGAZ" ACRYLIC ...DESCRIPTION: Leonardo Nierman (Mexican, b.1932) Acrylic on masonite, titled: "Ave Fugaz" signed and dated "Nierman, 66" lower left. Mounted in a gold frame. Provenance: (Christie's Auction, 2006 Live Auction 1756, The House Sale, Lot 122) Labels at reverse. (Doyle, New York, 4/16/2008, Lot 2059) Purchase Invoice, label at reverse. (Galeria Tasende, Acapulco, Mexico) Label at reverse. CIRCA: 1966 ORIGIN: Mexico DIMENSIONS: (Framed) H: 31.25" x L: 39.25" (Image) H: 24" x L: 32" CONDITION: Great condition. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS (305) 333-4134. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
JOSE LUIS CUEVAS (MEXICO 1937-2017)JOSE LUIS CUEVAS (MEXICO 1937-2017) WATERCOLORJose Luis Cuevas (MEXICAN / UNITED STATES / NEW YORK, 1934 - 2017) original watercolor on paper depicting the artist as a prisoner titled "Self Portrait Wanted". Mounted in a silver painted wooden frame with mat behindglass. Paper measures approx. 14" height x 9 3/4" width (35.6cm x 24.7cm). Measures approx. 20 1/4" height x 16" width (51.4cm x 40.6cm) overall including frame. Provenance: Galeria Tasende, Acapulco, Mexico andretains label to verso.
Condition:
All lots are sold as is and where is. Elite Auctioneers, LLC provides condition reports upon request to aide in your bidding decision. No statement regarding age, condition, kind, value, or quality of a lot, whether made orally at the auction or at any other time, or in writing in this catalog or elsewhere, shall be construed to be an express or implied warranty, representation, or assumption of liability. All sales are final, Elite Auctioneers, LLC does not give refunds based on condition. Elite Auctioneers, LLC does not perform any shipping or packing services. We do have a list of suggested shippers who gladly provide quotes prior to your bidding. Please visit our webpage for a list of recommended shippers.
LEONARDO NIERMAN EXPRESSIONIST ACRYLICLEONARDO NIERMAN EXPRESSIONIST ACRYLIC PAINTING, CITY S...Leonardo M. Nierman (New York/Mexico, b. 1932) acrylic on masonite board Expressionist painting depicting a city street scene in one-point perspective with colorful implications of skyscrapers and crisp light flares. Signed and dated "Nierman 63" lower left corner. Float mounted in a giltwood frame with linen liner and giltwood filet. Sight: 23 1/2" H x 31 1/2" W. Framed: 31 5/8" H x 39 3/8" W. Biography: Leonardo Nierman graduated from the National University of Mexico with a degree in physics and mathematics before embarking on a study of the relationships between psychology and color and abstract art and cosmic phenomena. Music served as the artist's predominant inspiration, stemming from his time as the lead violinist for the Mexico Symphony Orchestra; and he regards it as the highest form of art. His work is included in numerous public collections, including the National University of Mexico. Note: this work was acquired directly from the artist in 1963 in Acapulco while the original owners were on their honeymoon.
Condition:
Overall very good condition. Frame with minor scattered wear to gilt and slight loosening of linen liner.
JAMES EVERETT STUART, ADOBE SHACKS,JAMES EVERETT STUART, ADOBE SHACKS, ACAPULCO, OIL ON PA...James Everett Stuart, (America, 1852-1941), Adobe Shacks, Acapulco, Mexico, oil on wood panel, signed and dated lower left, October 7, 1930, verso reads, "No 3609-30x60-$7500, Adobe Shacks, Acapulco, Mexico, Sketch made in 1860, J.E. Stuart, October 7th, 1930", in original California frame. Appx 30" x 60", frame 42" x 71". Very good original condition.
AN ANTIQUE MAP, "MEXICO," JOHN ARROWSMITHAN ANTIQUE MAP, "MEXICO," JOHN ARROWSMITH (1790-1873), ...AN ANTIQUE MAP, "Mexico," JOHN ARROWSMITH (1790-1873), LONDON, PUBLISHED FEBRUARY 15, 1834, hand colored engraving on paper, a fragment from London Atlas, showing Texas on the eve of independence, elevation showed in hachures, overlaid with latitude and longitudinal lines, plate 44, with a lower left view of "Acapulco, Veracruz and Tampico, on double the scale of the map," mentioning areas where indigenous tribes hunt, including Long's 1818 expedition, the Great Spanish trail, San Luis/Galveston, San Antonio de Bexar, San Felipe de Austin, de Witt and Austin colony areas, Matagorda and Harrisburg(Houston). 22" x 27" Provenance: Property from a Corporate Collection, Houston, Texas. Property from a Corporate Collection, Houston, Texas
Condition:
Some fading of hand color, some toned edges, overall in good to very good condition, wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS.” NO REFUNDS will be issued based on condition.
A REPUBLIC OF TEXAS MAP, "MEXICO," JOHNA REPUBLIC OF TEXAS MAP, "MEXICO," JOHN ARROWSMITH, LON...A REPUBLIC OF TEXAS MAP, "Mexico," JOHN ARROWSMITH, LONDON, CIRCA 1842, hand colored engraving on paper, plate 44, by John Arrowsmith(1790-1873), a page fragment from London Atlas, published Feb. 15, 1842, with inset map of "Mexico, shewing its connection with the ports of Acapulco, Vera Cruz & Tampico," the map showing Harrisburg, Island of San Luis and Galveston Bay, Long's and Captain Bell's routes, the Great Spanish Road to the Red River, and most notably the map shows the largest version of the Republic of Texas. 21" x 24 3/4" Note: "The map shows Texas' northern boundary along the Arkansas, Red River and western boundary of the Rio Grande, as opposed to the Mexican claimed boundary of the Nueces River." Provenance: Property from a Corporate Collection, Houston, Texas. Property from a Corporate Collection, Houston, Texas
Condition:
Some toning, retaining original index shaped edges, heavy fading of hand color, overall in good to very good condition, wear commensurate with age and use. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS.” NO REFUNDS will be issued based on condition.
A LATE MEXICAN-AMERICAN WAR ERA MAP,A LATE MEXICAN-AMERICAN WAR ERA MAP, "MAPA DE LOS ESTAD...A LATE MEXICAN-AMERICAN WAR ERA MAP, "Mapa de los Estados Unidos de Mejico, Revised Edition," JOHN DISTURNELL, NEW YORK,1848-1850, hand colored copper plate engraving on paper, the Gulf of Mexico with four inset maps, "Map Showing the Battlegrounds of (Palo Alto) the 8th and 9th, May 1846, by J.H. Eaton," "Plan of Monterrey and its Environs," "Chart of the Bay of Veracruz," and "Tampico and its Environs," at far right, "Diagram of the Battleground (of Buena Vista) February 22nd and 23rd 1847," in the lower left, "Table de Distancias.," "Tabla Estadistica.," and "Carta de los Caminos & Desde Vera Cruz Y Alvarado a Méjico," accompanied by two profiles of the routes "...between Mexico and Veracruz," and "...between Mexico and Acapulco," the upper right with engraving of Mexican eagle with snake in its beak, perched on cactus with names of Mexican states lettered on pads, above a bow and arrow; the hand coloring ordered as follows: Green-Spanish Boundary 1786, Blue-Boundary Proposed by Mexican Commissioners, Yellow-Boundary Claimed by the United States," with quotation, "Prior to the Revolution Texas and Coahuila were united to form one of the Federal States of the Mexican Republic," Red- Route of Gen. Taylor in south Texas and north Mexico, and Gen. Kearny's Route in the north tracking his "March of the 1st Dragoons" from Fort Leavenworth, Kansas, Pink-Boundary Proposed by Mr. Trist U.S. Commissioner, presented with a gilt embossed green cloth cover board, "Map of the Republic of Mexico, Published by J. Disturnell, New York." 30" x 42" Note: The particular map noted for numerous editions with notable mistakes; this map is a rare example of a map that both has gross inaccuracies and served as an important tool for the United States and Mexican governments during land disputes and negotiations at the end of the Mexican American War. The present map includes detailed hand-drawn routes and boundaries that formed the face of the modern American landscape.The red route indicated in the Southern Texas/Northern Mexico area tracks future President Zachary Taylor's military expeditions during the Mexican-American War. "In the summer of 1845, Taylor, now sixty years old and stationed again at Fort Jesup, was ordered by the Polk administration to defend the recently annexed Texas republic. Commanding what would now be called the "Army of Occupation," Taylor moved his troops to Corpus Christi, at the mouth of the Nueces River, where he awaited reinforcements. By March 1846, with an army that now numbered 4,000, he moved further south, to the Rio Grande. When Mexican troops attacked U.S. forces in late April, President James K. Polk used the attack to ask Congress for a declaration of war. On May 18, though heavily outnumbered, Taylor defeated Mexican forces at Palo Alto; the following day he engaged the Mexican army again at Resaca de la Palma, driving it back to Matamoros. With the United States and Mexico now at war, Taylor established a base of operations at Camargo, on the Rio Grande, while he awaited reinforcements from the War Department, which had issued a call for volunteers. In September 1846, his army now numbering 6,500, Taylor marched south to lay siege to Monterey, Mexico's largest northern city, which was garrisoned by the 5,000-man Army of the North, commanded by General Pedro Ampudia. After three days of fighting, Taylor took the city, signing an eight-week armistice with Ampudia, who was allowed to withdraw. The news of the victory was offset in Washington by President Polk's belief that Taylor had missed an opportunity to end the war by allowing Ampudia to evacuate the city. The War Department ordered Taylor to terminate the armistice immediately, and pointedly refrained from congratulating the general on his victory. This brought an immediate chill to relations between Taylor and the Polk administration, which was undoubtedly aggravated by reports that the general was being courted by the Whig Party as a possible candidate for the presidency in 1848. The rift between Polk and Taylor became even wider when Washington decided at year's end to open up a new theater of operations in the south, under the command of Winfield Scott. Ordered to assume a defensive position and place a large portion of his army under Scott's command in anticipation of an amphibious landing at Vera Cruz, Taylor refused to be relegated to a secondary role. In defiance of orders from both Scott and the War Department, Taylor pushed south, encountering the Mexican army at Buena Vista, below Saltillo. Taylor's army repulsed several Mexican assaults on February 22 and 23. Although both sides claimed victory, the battle ended in a stalemate. Nonetheless, Taylor's Army of Occupation remained firmly in control of northern Mexico, and the battle was hailed as a great victory by the American press. The Battle of Buena Vista added further luster to Taylor's political fortunes. Known as 'Old Rough and Ready' for his simple manner and modest appearance, Taylor was now the most celebrated hero of the war. Still bristling at his treatment by the Polk administration, Taylor agreed to accept the nomination of the Whig party, despite the fact that he had not been active in politics, nor did he appear to hold particularly strong political convictions. Indeed, Taylor did not share many of the core Whig beliefs, such as support for a protective tariff, the national bank, and internal improvements. Nonetheless, the war hero easily defeated the Democratic candidate, Lewis Cass, whose support in the North was undercut by the Free Soil party, headed by long-time Democratic standard-bearer Martin Van Buren." - an excerpt from UT Arlington Library's Special Collections, A Continent Divided: The U.S. Mexico War, and with special thanks. The route of General Stephen W. Kearny in the north indicated, also in red in the north, established for the first time the United State's military control of the lands spanning from Fort Leavenworth, Kansas westward to Los Angeles. "The start of the U.S.-Mexico War found Kearny at Fort Leavenworth, where in May 1846 he gathered troops charged with conquering New Mexico and California. Kearny's forces left Fort Leavenworth in June 1846. Numbering 1,558 men, the "Army of the West" consisted of a battalion of Missouri Volunteers, two companies of regular infantry, five squadrons of the First Dragoons, Doniphan's Regiment of Missouri Mounted Volunteers, an interpreter, about fifty Indian guides, and a small body of Army Topographical Engineers. On July 22, the army reached Bent's Fort. Soon afterward, Kearny sent word to New Mexico Governor Manuel Armijo that the Americans intended to take possession of New Mexico. On August 15 the Americans entered Las Vegas, New Mexico, and three days later entered Santa Fe without opposition, Armijo having fled. Promising to respect New Mexican property and religion, Kearny established a legal code for New Mexico and installed Charles Bent, an American trader, as territorial governor. Kearny now received new orders from Washington, promoting him to the rank of brigadier general and instructing him to aid in the conquest of California...As Kearny headed west, resistance to U.S. rule flared in California. As his small force approached San Diego, where it planned to link up with Commodore Robert F. Stockton's marines, Kearny's weary dragoons encountered a force of 150 Californios. At the Battle of San Pascual on December 6, Kearny was seriously wounded and 18 of his men killed. The force was rescued the following day by the timely arrival of a relief column led by Stockton. While the dragoons rested, Stockton prepared to retake Los Angeles. In late December he and Kearny led a joint Army-Navy force of about 600 men out of San Diego. Defeating Mexican and California troops at the battles of Rio San Gabriel and La Mesa, Stockton and Kearny's troops entered Los Angeles. Signing the Treaty of Cahuenga, which ended Californian resistance to U.S. occupation, Stockton turned over military command to Kearny and appointed John C. Fremont governor."- an excerpt from UT Arlington Library's Special Collections, A Continent Divided: The U.S. Mexico War, and with special thanks. Layering each territory boundary by color gives the viewer an instant look at the intense negotiations that took place between Nicholas Trist in pink and the Mexican government in blue. The University of Texas at Arlington writes, "Nicholas P. Trist, the American diplomat who negotiated the treaty that ended the U.S.-Mexico War...Just as he was beginning to enter into negotiations with the provisional Mexican government that had been hastily organized at the town of Querétaro under a new President, Manuel Peña y Peña, Trist received word from Secretary of State James Buchanan that he (Trist) had been recalled by an impatient President Polk. Buchanan's dispatch stated further that if the Mexicans wanted peace, they would have to send an emissary to the United States. Realizing that to abandon his work and leave Mexico at that crucial juncture would almost certainly have negative consequences for both countries, Trist decided to ignore the recall, which General Scott and all three Mexican negotiators, Luis G. Cuevas, Bernardo Couto, and Miguel Atristain, encouraged him to do. On February 2, 1848, Trist signed the Treaty of Guadalupe Hidalgo on behalf of the United States while Cuevas, Couto, and Atristain signed for Mexico. The treaty's most far-reaching provisions included recognition by Mexico of the Rio Grande as the boundary of Texas, the United States government's assumption of $3 million Mexico owed to private U.S. citizens, and Mexico's agreement to sell Upper California and New Mexico, a vast expanse that makes up the present-day states of California, Arizona, Nevada, Utah, New Mexico, and part of Colorado, for $15 million. When the treaty reached Washington, Polk was outraged that Trist, who technically had no authority to make an agreement with Mexico on account of his recall, had ignored the President's order. At first, Polk considered discarding the agreement but realizing that all his principal war goals had been accomplished and that the country was in no mood to prolong the conflict, he sent it to the Senate, which ratified the treaty on March 10, 1848. Both houses of the Mexican Congress ratified it on May 19." -an excerpt from UT Arlington Library's Special Collections, A Continent Divided: The U.S. Mexico War, and with special thanks.Attributed as an eighth edition or later, with special consideration to the appearance of the inset maps in the Gulf of Mexico. This revision containing the inset maps in the Gulf coinciding with the Presidential term of Zachary Taylor and the end of the Mexican-American War. The inset maps celebrate Zachary Taylor's many military achievements. The present map with special hand coloring notes the fundamentally transformative time for the United States at the end of the Mexican-American War, which effectively established the United States of America from coast to coast, fulfilling Manifest Destiny. No longer would the United States boundary ever change or waver as much as this map with hand color indicates it once did. An invaluable and education addition to any American map collection.
Condition:
Some stains, losses, creases, joined neat line, tears at edges, float mounted with repairs and indrawing, waving, Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
A LARGE MID-CENTURY MODERN ONYX ANDA LARGE MID-CENTURY MODERN ONYX AND ABALONE INLAID RESI...A LARGE MID-CENTURY MODERN ONYX AND ABALONE INLAID RESIN COFFEE TABLE, POSSIBLY ARTURO PANI, CIRCA 1960s, the rectangular clear resin top composed of carefully arranged flat cut panels of white, brown and mustard veined onyx amidst sparkling abalone shell shards, raised on a pair of gold-painted cast stone Corinthian capitals. Height: 14 3/4 Length: 60" Depth: 30 1/4" Note: Arturo Pani (Mexican 1915-1981) an acclaimed designer from Mexico who during his early years was educated at the Ecole des Beaux-Arts in Paris. In 1935, Pani returned to Mexico City and was quickly snatched up and made Senior Designer by the De La Pena, Lascurain y Compania an interior design and decorating firm. Soon his talent, as well as having been born into an esteemed family, led him to the top echelon of Mexico City society and their interiors. His success was heightened by important commercial design commissions for some of the salons and lobbies of the finest hotels found in Mexico City. Over the years, Arturo Pani built a good reputation for his talented work, and his fame spread across the globe. During the 50s, 60s and 70s Acapulco became a "must go" vacation hot spot for high society and Pani designed some truly original furniture using resin and indigenous materials such as gilt wrought-iron, glass, stones, onyx, shells and abalone. His "Acapulco Look" can be found in the coffee table offered here with its' use of onyx and sparkling pieces of abalone in a resin body. Provenance: Lifelong Collection of Clocks and Antiques, Navasota, Texas.
Condition:
Good condition with some light wear in areas throughout but the resin is surprisingly still fairly clear considering its' age and use. The pair of cast stone capital supports are in good shape with expected small nicks, scratches, and normal surface buildup from age and use. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
FRANCISCO ZUNIGA (MEXICAN 1912-1998)FRANCISCOFRANCISCO ZUNIGA (MEXICAN 1912-1998)FRANCISCO ZUNIGA (MEXICAN 1912-1998)
Desnudo , 1976
charcoal on paper
54 x 69 cm (21 1/4 x 27 1/4 in.) [sight]
signed and dated lower left
PROVENANCE
Tasende Gallery, Acapulco, Mexico
GROUP, 9 SILVER JUBILEE WORLD CRUISEGROUP, 9 SILVER JUBILEE WORLD CRUISE TOKENSGrouping of 9 Silver Jubilee World Cruise tokens comprising of New York, Lisbon, Honolulu, Los Angeles, Acapulco, Piraeus, Gibraltar, Cartagena and Tangier.
Molly Schiff
(American, 20th/21st century)
AcapulcoMolly Schiff
(American, 20th/21st century)
Acapulco Beach
acrylic on canvas
signed Molly J Schifff (lower right); titled (stretcher)
25 x 32 inches.
TWO WILLIAM SPRATLING TABLE ITEMSTwoTWO WILLIAM SPRATLING TABLE ITEMSTwo William Spratling table items, William Spratling (1900-1967) Circa 1951-1967, Third Design Period; Taxco, Mexico Each stamped for William Spratling; Cream pitcher stamped for Hotel Pierre Marques Comprising a handled mug with incised lines and applied depiction of the cross section of a Choluteca conch shell together with a small cream pitcher with the same conch shell motif, 2 pieces Pitcher: 2.125" H x 1.625" Dia.; mug: 4.625" H x 3.5" Dia. 12.735 oz. troy approximately Provenance: The Phyllis M. Goddard Collection Literature: Illustrated in Phyllis M. Goddard, "Spratling Silver: A Field Guide; Recognizing a William Spratling Treasure" (Altadena, CA: Keenan Tyler Paine, 2003), 97, figs. 2-306 and 2-305. Notes: Although this mug is hallmarked with Spratling's primary mark indicating sterling quality, it appears that it may actually be made of silver-plate designed as a model for the designs Spratling created for the Hotel Pierre Marques in Acapulco. "In the mid 1950s, Spratling agreed to design for the Pierre Marques Hotel in Acapulco, a group of articles that included key tags, ashtrays, champagne buckets and stands, martini pitchers, finger bowls, beer mugs, butter dishes, crepe suzette pans, and coffee services. These designs were made of silver plate and ebony. All included an applied nautilus design that the hotel referred to as 'The Pierre Marques Star.' The primary hallmark (and only hallmark) that appeared on these silver-plated items is shown below. None of these materials have been seen in any material other than silver-plate, and therefore, no tertiary mark was used. Items stamped with this hallmark were Spratling's designs, but the items were not produced by Spratling. Photos of many of these designs can be found in 'Spratling Silver: A Field Guide' on page 97." Phyllis M. Goddard This lot may require a CITES permit if being shipped outside the United States. Please contact your preferred shipping company for information. Provenance: The Phyllis M. Goddard Collection
AN ANTONIO PINEDA SILVER BRACELETAnAN ANTONIO PINEDA SILVER BRACELETAn Antonio Pineda silver bracelet, 1953-1979; Taxco, Mexico Crown mark for Antonio Pineda; Eagle 17; Further stamped: Sterling / Silver / Mexico / 970 / ZZ784 Designed with spheres framed by opposing "C" links inscribed: Acapulco 1966 6.5" L x 1" H 110.5 grams Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This design illustrated: Stuart Hodosh, et al. "Silver Seduction: the Art of Mexican Modernist Antonio Pineda; from the Collection of Cindy Tietze and Stuart Hodosh," Fowler Museum at UCLA, 2008, pg. 52, plate 42. Dimensions: 6.5" L x 1" H Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
VILLEROY & BOCH "ACAPULCO" CHINA ANDVILLEROY & BOCH "ACAPULCO" CHINA AND DRINKWARE SETVILLEROY & BOCH "ACAPULCO" CHINA AND DRINKWARE SET, 82 pieces comprised of 10 dinner plates, 9 salad plates, 8 bread plates, 3 coupe bowls, 7 cream soup bowls, 8 saucers, 13 teacups, 7 saucers, 8 coffee mugs, 1 round vegetable bowl, 1 cream pitcher, and 1 lidded sugar bowl, together with the set of 6 12 oz. double old fashioneds.
MEXICAN STERLING PRESENTATION TRAY TOMEXICAN STERLING PRESENTATION TRAY TO FRANK SINATRAinscribed: "Sr. Frank Sinatra/Por su Cooperacion en Beneficio/del Pabellon Infantil/del Hospital Morelos/Foreign Friends de Acapulco Mexico/8 de Abril 1962" 48 troy ounces 22 1/2 x 15 3/4 inches Condition:
VILLEROY & BOCH 'ACAPULCO' PATTERN 23-PIECEVILLEROY & BOCH 'ACAPULCO' PATTERN 23-PIECE PARTIAL FONDUE SERVICEVilleroy & Boch 'Acapulco' Pattern 23-Piece Partial Fondue Service,, Including: Pot, Bowl, Tray, 8 Egg Cups, and 12 Segmented Plates
FRANCISCO ZúñIGA (MEXICAN, 1912-1998)FranciscoFRANCISCO ZúñIGA (MEXICAN, 1912-1998)Francisco Zúñiga (Mexican, 1912-1998) , "Escena Intima", 1978, pastel on paper, signed and dated lower right, "Galeria Tasende, Acapulco" label with artist, title and date on backing, 19 1/2 in. x 27 7/8 in., framed
VICTOR PENA CORTEZ (MEXICAN, 20TH CENTURY)VICTOR PENA CORTEZ (MEXICAN, 20TH CENTURY) JUGADOR DE PELOTA, SIGNED, INSCRIBED MEXICO, AND DATED '81, COLLAGE, VERSO TITLED BY THE ARTIST, BEARS PAPER LABEL FROM FRIENDS OF ACAPULCO, ANNUAL ART EXHIBITION, 31 1/2" X ...VICTOR PENA CORTEZ (Mexican, 20th Century) Jugador de Pelota, Signed, Inscribed Mexico, and dated '81, collage, verso titled by the artist, bears paper label from Friends of Acapulco, Annual Art Exhibition, 31 1/2" x 31 1/2", Wood Frame, Overall measures 36" x 36"
VICTOR PENA CORTEZ (MEXICAN, 20TH CENTURY),VICTOR PENA CORTEZ (MEXICAN, 20TH CENTURY), ESCARLATA, SIGNED, INSCRIBED MEXICO, AND DATED '82 LOWER RIGHT, COLLAGE, VERSO TITLED BY THE ARTIST, BEARS PAPER LABEL FROM FRIENDS OF ACAPULCO, ANNUAL ART EXHIBITION, 31 1/...VICTOR PENA CORTEZ (Mexican, 20th Century), Escarlata, Signed, Inscribed Mexico, and dated '82 lower right, collage, verso titled by the artist, bears paper label from Friends of Acapulco, Annual Art Exhibition, 31 1/2"x 23 1/2", Stained Wood Frame, Overall measures 36 1/2" x 28 1/2"
ARMANDO AMAYA (B.1935) VERDIGRIS BRONZEARMANDO AMAYA (B.1935) VERDIGRIS BRONZE SCULPTUREVerdigris patinated bronze sculpture, "Martha de Tehuana en un Banco," signed in cast Amaya (Armando Amaya, Mexican, b.1935), numbered I/ VII (1/ 7), dated 1980, on a mahogany base, labels at underside for Galeria Tasende, Acapulco, Mexico and Tasende Gallery, La Jolla, California, bronze: approx 11"h, 8.5"w, 10"d, overall: approx 13"h, 9.75"w, 10 7/8"d, 16.75lbs
HUNT SLONEM (AMERICAN/LOUISIANA, B.HUNT SLONEM (AMERICAN/LOUISIANA, B. 1951)Hunt Slonem (American/Louisiana, b. 1951), "Picul", 2006, oil on canvas, signed, titled and dated en verso, "PintArt, Acapulco" label on backing paper, 35 7/8 in. x 35 3/8 in., framed, overall 38 5/8 in. x 38 1/4 in. x 1 1/4 in.
HUNT SLONEM (AMERICAN/LOUISIANA, B.HUNT SLONEM (AMERICAN/LOUISIANA, B. 1951)Hunt Slonem (American/Louisiana, b. 1951), "Green Singers", 2004, oil on board, signed, titled and dated en verso, "PintArt, Acapulco" label on reverse of frame, 32 3/4 in. x 23 3/8 in., framed, overall 33 3/4 in. x 24 1/4 in. x 7/8 in.
HUNT SLONEM (AMERICAN/LOUISIANA, B.HUNT SLONEM (AMERICAN/LOUISIANA, B. 1951)Hunt Slonem (American/Louisiana, b. 1951), "Finches", 2004, oil on board, signed, titled and dated en verso, "PintArt, Acapulco" label on reverse of frame, 13 5/8 in. x 13 1/2 in., framed, overall 14 5/8 in. x 14 1/2 in. x 7/8 in.
HUNT SLONEM (AMERICAN/LOUISIANA, B.HUNT SLONEM (AMERICAN/LOUISIANA, B. 1951)Hunt Slonem (American/Louisiana, b. 1951), "Picul (with Amazons and Eclectus)", 2000, oil on canvas, signed, titled and dated en verso, "PintArt, Acapulco" stamp on backing paper, 44 1/4 in. x 66 in., framed, overall 46 7/8 in. x 68 1/2 in. x 2 in.
HUNT SLONEM (AMERICAN/LOUISIANA, B.HUNT SLONEM (AMERICAN/LOUISIANA, B. 1951)Hunt Slonem (American/Louisiana, b. 1951), "Whisper", 2006, oil on canvas, signed, titled and dated en verso, "PintArt, Acapulco" label on backing paper, 40 in. x 29 1/2 in., framed, overall 42 1/2 in. x 32 1/4 in. x 1 3/8 in.
HUNT SLONEM (AMERICAN/LOUISIANA, B.HUNT SLONEM (AMERICAN/LOUISIANA, B. 1951)Hunt Slonem (American/Louisiana, b. 1951), "Cherry Conure", 2003, oil on canvas, signed, titled and dated en verso, "PintArt, Acapulco" stamp on backing paper, 48 in. x 71 3/4 in., framed, overall 50 3/8 in. x 74 1/2 in. x 2 in.
HUNT SLONEM (AMERICAN/LOUISIANA, B.HUNT SLONEM (AMERICAN/LOUISIANA, B. 1951)Hunt Slonem (American/Louisiana, b. 1951), "Lories II", 2006, oil on panel, signed, titled and dated en verso, "PintArt, Acapulco" label en verso, 29 3/4 in. x 23 5/8 in., framed, overall 30 3/4 in. x 24 1/2 in. x 1 in.
HUNT SLONEM (AMERICAN/LOUISIANA, B.HUNT SLONEM (AMERICAN/LOUISIANA, B. 1951)Hunt Slonem (American/Louisiana, b. 1951), "Citrons", 2006, oil on canvas, signed, titled and dated en verso, "PintArt, Acapulco" label on backing paper, 47 1/2 in. x 47 5/8 in., framed, overall 50 1/2 in. x 50 3/8 in. x 1 3/8 in.
VINTAGE MCM MID CENTURY MODERN ACAPULCOVINTAGE MCM MID CENTURY MODERN ACAPULCO EGG CHAIR WITH CUP HOLDER IN BLACK METAL WIRE AND ROD STEEL. 39 1/2"H X 30"W X 34 1/2"D, 15"H (FLOOR TO SEAT)Vintage MCM Mid Century Modern Acapulco Egg Chair with cup holder in black metal wire and rod steel., Dimensions: 39 1/2"H x 30"W x 34 1/2"D, 15"H (floor to seat)
THE ANSON SERVICE -AN IMPORTANT GEORGETHE ANSON SERVICE -AN IMPORTANT GEORGE II SERVING DISH Paul de Lamerie, London 1747, of scalloped oval outline with cast gadrooned border and foliate detail at intervals, armorial engraved to the raised rim, engraved to reverse, scratch weight, 22=10Diameter: 28cm, weight: 20.3ozProvenance: Presumed Christie's 8th May 1893 auctionReputed to have been a gift to a member of staff at Fordell House in Fife Thence by descentHeraldry:Arms: Quarterly 1st and 4th Argent three bends engrailed gules in the sinister chief a crescent of the last (for Anson) 2nd and 3rd Sable a bend or between three spear heads argent (for Carrier)Motto: Nil desperandum [Never despair]Supporters: (Dexter) A sea-horse (Sinister) A sea-lion both proper and each gorged with a collar double gemel or the arms are ensigned with a baron’s coronet of rank.Note:George Anson (1697-1762), 1st Baron Anson, the famous Admiral who circumnavigated the globe in four years and captured Spanish Treasure to the value of approximately half a million pounds, and later elevated to Baron Anson of Soberton, from 1751 till his death in 1762 he was First Lord of the Admiralty. This serving dish forms part of a much larger service which included tureens, plates and inkstands, named the ‘Anson Service’, which would have been specifically commissioned and built up over a period of time. Crafted by one of the most regarded silversmiths of the day Paul de Lamerie, this serving plate forms part of an important part of the history of early 18th Century silver. George Anson was regarded as the Father of the British Navy and was key at introducing reform and even introduced the structure of naval uniforms. Participating in significant battles such as the Austrian Succession and the Seven Years War, his efforts closer to home Anson prevented a French invasion on British shores in 1759. Further afield, by 1760, he had assisted in capturing Canada, Senegal and Guadeloupe from the French. Anson’s most celebrated victory was the 1843 capture of a Spanish treasure ship sailing from Manila to Acapulco with a cargo of nearly half a million pounds, and it has been reputed that there were 2,600,000 Pieces of Eight, 150,000 ounces of plate, 10 bars of Gold, and a large quantity of gold and silver dust aboard. The treasure was so vast that it was paraded through the streets of London on the way to the King in thirty-two wagons. Following his three-year circumnavigation of the globe concluding in London in June 1744 and the successes of his naval pursuits he was elevated to the peerage as Baron Anson of Soberton. To mark this occasion, he invested his wealth in the family estate at Shugborough in Staffordshire and his home Moor Park in Hertfordshire adding further silverware to the collection. In fact, this plate hallmarked in 1747 matches the date of his elevation to Baron and emphasises the importance of silver to Georgian society. The epitome of Georgian wealth Anson is captured in portraits by Thomas Hudson and, currently in the National Portrait Gallery, a portrait after Joshua Reynolds. Anson died without issue and the house being regarded of National importance was laterally entrusted to the National Trust. Parts from the service can still be found in their collection at Shugborough, including a pair of salvers (NT 1271250.1 and .2) and a meat plate (NT 1271293). The Victoria and Albert Museum also display an inkstand as part of the Gilbert Collection (LOAN:GILBERT.664:1-2008) These examples and more were all crafted by Paul de Lamerie, who was an obvious early 18th-Century choice to produce the finest silverware. De Lamerie was born in the Netherlands to Huguenot parents, but the family fled religious persecution on the continent and settled in England. He became a freeman of the Goldsmith's Company, London and registered his hallmark in 1712. The continental and in particular French influence of the Roccoco style was to heavily inspire his work especially from the 1730s and he became perhaps the finest designer and maker working in this style. He was regarded as one of the most famous silversmiths of his age due to his craftsmanship and this was aided his business acumen. With most work based on commissions, these important connections helped his reputation, becoming known as the King’s silversmith for the numerous commissions for the Royal Households. Other key clients included Catherine the Great, who commission a wine cistern of 1726, still housed in the Hermitage, (pg 77, Paul de Lamerie, At the Sign of the Golden Ball, An Exhibition of the Work of England's Master Silversmith) and the Walpole salver for Robert Walpole. A remarkably finely engraved salver with the design of the Second Exchequer Seal of George I, housed at the Victoria and Albert Museum (M.9-1956). Although working mainly on commissions, his shop based at 40 Gerrard Street from 1738 stocked further delights for the eye to behold.The majority of the Anson service was sold at auction on the 8th May in 1893 by Christie’s and is rarely at auction, but when it appears it still attracts much interest. In 2010, Sotheby’s offered a piece from the service, which had appeared in the 1893 auction, lot 195, ‘A snuffer’s tray’ which achieved USD$50,000, other appearances of the Anson Service include the 2012 Christies sale of the ‘Property from the Estate of Benjamin F. Edwards II’ where a pair of sauceboats, lot 2591 achieved USD$43,750In 2008, as part of The Chen Collection, Lyon & Turnbull sold ‘A pair of George II silver circular serving dishes’ (lot 197, 23rd November 2008, The Chen Collection), which had formed part of the Anson service, for £26,250 (inc. premium).
Guy Charon limited edition lithographGuy Charon limited edition lithograph on paper titled ''Acapulco Bay''. Hand signed lower right margin ''Charon'' and marked lower left with what appears to read ''EA''. Framed and matted in a metallic finish frame. Condition: very minor wear to frame as expected small area of water damage to edge of matting upper right see images. Measures 19.75'' tall x 25.5'' wide (plate) and 29.5'' tall x 34.75'' wide (frame). Shipping weight 12 lbs.
LONGABAUGH Charles Oglesby (AmericanLONGABAUGH Charles Oglesby (American 1885-1944): ''Acapulco'' Watercolor sight size 17 1/2'' x 21'' signed titled and dated '41 affixed to mat (water damage) 26'' x 29'' unframed.