Click image to enlarge
Description
GREETINGS, FEEL FREE
TO
"SHOP NAKED."©
We deal in items we believe others will enjoy and want to purchase.
We are not experts.
We welcome any comments, questions, or concerns.
WE ARE TARGETING A GLOBAL MARKET PLACE.
Thanks in advance for your patronage.
Please Be sure to add WDG to your favorites list!
NOW FOR YOUR VIEWING PLEASURE…
VINTAGE LITHOGRAPH ART
BY ARTIST "ESTEBAN"
DEPICTS A GOTHIC COAT OF ARMS
THE DOUBLE EAGLE HERALDRY
RED ROSE
OSTRICH PLUME
AXES SWORDS SHIELDS
A BOTTLE OF VINO WINE
A BURNT CANDLE
MOUNTED ON A BOARD STOCK
MEASURES ABOUT 17" X 23"
LITTLE IS KNOWN ABOUT THIS ARTISAN
WE WELCOME YOUR COMMENTS
-------------------------------------------
FYI
--------------------------------------------
--------------------------------------------
A coat of arms is a unique heraldic design on a shield, escutcheon, surcoat, or tabard. A coat of arms is used to cover, protect, and identify the wearer. Thus the term is often stated as "coat-armour", because it was anciently displayed on the front of a coat of cloth in European societies. The coat of arms on an escutcheon forms the central element of the full heraldic achievement which consists of shield, supporters, crest, and motto. The design is a symbol unique to an individual person, and to his family, corporation, or state. Such displays are commonly called armorial bearings, armorial devices, heraldic devices, or simply armorials, or arms.
The ancient Romans used insignias similar to coats of arms on their shields, but these were identifiers of military units and not of individuals. The first evidence of medieval coats of arms is found in the Bayeux Tapestry from the 11th Century, where some of the combatants carry shields painted with crosses. Coats of arms came into general use by feudal lords and knights in battle in the 12th Century. By the 13th Century arms had spread beyond their initial battlefield use to become a kind of flag or logo for families in the higher social classes of Europe, inherited from one generation to the next. Exactly who had a right to use arms, by law or social convention, varied to some degree between countries. In the German-speaking region both the aristocracy and burghers used arms, while in most of the rest of Europe they were limited to the aristocracy. The use of arms spread to Church clergy, and to towns as civic identifiers, and to royally-chartered organizations such as universities and trading companies. Flags developed from coats of arms, and the arts of vexillology and heraldry are closely related. The coats of arms granted to commercial companies are a major source of the modern logo.
Despite no widespread regulation, and even with a lack in many cases of national regulation, heraldry has remained rather consistent across Europe, where traditions alone have governed the design and use of arms. Unlike seals and other general emblems, heraldic achievements have a formal description called a blazon, expressed in a jargon that allows for consistency in heraldic depictions.
In the 21st century, coats of arms are still in use by a variety of institutions and individuals; for example, universities have guidelines on how their coats of arms may be used, and protect their use as trademarks. Many societies exist that also aid in the design and registration of personal arms. Some nations, like England and Scotland, still maintain to this day the authorities that grant and regulate arms.
In the heraldic traditions of England and Scotland an individual, rather than a family, had a coat of arms. In those traditions coats of arms are legal property transmitted from father to son; wives and daughters could also bear arms modified to indicate their relation to the current holder of the arms. Undifferenced arms are used only by one person at any given time. Other descendants of the original bearer could bear the ancestral arms only with some difference: usually a color change or the addition of a distinguishing charge. One such charge is the label, which in British usage (outside the Royal Family) is now always the mark of an heir apparent or (in Scotland) an heir presumptive.
Because of their importance in identification, particularly in seals on legal documents, the use of arms was strictly regulated; few countries continue in this today. This has been carried out by heralds and the study of coats of arms is therefore called "heraldry". Some other traditions (e.g., Polish heraldry) are less restrictive — allowing, for example, all members of a dynastic house or family to use the same arms, although one or more elements may be reserved to the head of the house.
In time, the use of arms spread from military entities to educational institutes, and other establishments. According to a design institute article, "The modern logo and corporate livery have evolved from the battle standard and military uniform of medieval times".
In his book, The Visual Culture of Violence in the Late Middle Ages, Valentin Groebner argues that the images composed on coats of arms are in many cases designed to convey a feeling of power and strength, often in military terms. The author Helen Stuart argues that some coats of arms were a form of corporate logo. Museums on medieval armory also point out that as emblems they may be viewed as precursors to the corporate logos of modern society, used for group identity formation.
When knights were so encased in armour that no means of identifying them was left, the practice was introduced of painting their insignia of honour on their shield as an easy method of distinguishing them. Originally these were granted only to individuals, but were afterward made hereditary in England by King Richard I, during his crusade to Palestine.
--------------------
In heraldry and vexillology, the double-headed eagle (or double-eagle) is a charge associated with the concept of Empire. Most modern uses of the symbol are directly or indirectly associated with its use by the late Byzantine Empire, originally a dynastic emblem of the Palaiologoi. It was adopted during the Late Medieval to Early Modern period in the Holy Roman Empire on the one hand, and in Orthodox principalities (Serbia and Russia) on the other, representing an augmentation of the (single-headed) eagle or Aquila associated with the Roman Empire. In a few places, among them the Holy Roman Empire and Russia, the motif was further augmented to create the less prominent triple-headed eagle.
The motif has predecessors in Bronze Age art, found in Illyria, Mycenaean Greece, and in the Ancient Near East, especially in Hittite iconography. It re-appeared during the High Middle Ages, from around the 10th or 11th centuries, and was notably used by the Byzantine Empire, but 11th or 12th century representations have also been found originating from Islamic Spain, France and the Serbian principality of Raška. From the 13th century onward, it became even more widespread, and was used by the Seljuk Sultanate of Rum and the Mamluk Sultanate within the Islamic world, and within the Christian world by the Holy Roman Empire, Serbia, several medieval Albanian noble families and Russia.
History
Bronze Age
Polycephalous mythological beasts are very frequent in the Bronze Age and Iron Age pictorial legacy of the Ancient Near East, especially in the Assyrian sphere. These latter were adopted by the Hittites. Use of the double-headed eagle in Hittite imagery has been interpreted as "royal insignia". A monumental Hittite relief of a double-headed eagle grasping two hares is found at the eastern pier of the Sphinx Gate at Alaca Hüyük. For more examples of double-headed eagles in the Hittite context see Jesse David Chariton, "The Function of the Double-Headed Eagle at Yazılıkaya."
In Mycenaean Greece, evidence of the double-eagle motif was discovered in Grave Circle A, an elite Mycenaean cemetery; the motif was part of a series of gold jewelry, possibly a necklace with a repeating design.
Middle Ages
After the Bronze Age collapse, there is a gap of more than two millennia before the re-appearance of the double-headed eagle motif. The earliest occurrence in the context of the Byzantine Empire appears to be on a silk brocade dated to the 10th century, which was, however, likely manufactured in Islamic Spain;similarly early examples, from the 10th or 11th century, are from Bulgaria and from France.
Byzantine Empire
The early Byzantine Empire continued to use the (single-headed) imperial eagle motif. The double-headed eagle appears only in the medieval period, by about the 10th century in Byzantine art, but as an imperial emblem only much later, during the final century of the Palaiologos dynasty. In Western European sources, it appears as a Byzantine state emblem since at least the 15th century.
A modern theory, forwarded by Zapheiriou (1947), connected the introduction of the motif to Byzantine Emperor Isaac I Komnenos (1057–1059), whose family originated in Paphlagonia. Zapheiriou supposed that the Hittite motif of the double-headed bird, associated with the Paphlagonian city of Gangra (where it was known as Haga, Χάγκα) might have been brought to the Byzantine Empire by the Komnenoi.
The ancient Romans used insignias similar to coats of arms on their shields, but these were identifiers of military units and not of individuals. The first evidence of medieval coats of arms is found in the Bayeux Tapestry from the 11th Century, where some of the combatants carry shields painted with crosses. Coats of arms came into general use by feudal lords and knights in battle in the 12th Century. By the 13th Century arms had spread beyond their initial battlefield use to become a kind of flag or logo for families in the higher social classes of Europe, inherited from one generation to the next. Exactly who had a right to use arms, by law or social convention, varied to some degree between countries. In the German-speaking region both the aristocracy and burghers used arms, while in most of the rest of Europe they were limited to the aristocracy. The use of arms spread to Church clergy, and to towns as civic identifiers, and to royally-chartered organizations such as universities and trading companies. Flags developed from coats of arms, and the arts of vexillology and heraldry are closely related. The coats of arms granted to commercial companies are a major source of the modern logo.
Despite no widespread regulation, and even with a lack in many cases of national regulation, heraldry has remained rather consistent across Europe, where traditions alone have governed the design and use of arms. Unlike seals and other general emblems, heraldic achievements have a formal description called a blazon, expressed in a jargon that allows for consistency in heraldic depictions.
In the 21st century, coats of arms are still in use by a variety of institutions and individuals; for example, universities have guidelines on how their coats of arms may be used, and protect their use as trademarks. Many societies exist that also aid in the design and registration of personal arms. Some nations, like England and Scotland, still maintain to this day the authorities that grant and regulate arms.
In the heraldic traditions of England and Scotland an individual, rather than a family, had a coat of arms. In those traditions coats of arms are legal property transmitted from father to son; wives and daughters could also bear arms modified to indicate their relation to the current holder of the arms. Undifferenced arms are used only by one person at any given time. Other descendants of the original bearer could bear the ancestral arms only with some difference: usually a color change or the addition of a distinguishing charge. One such charge is the label, which in British usage (outside the Royal Family) is now always the mark of an heir apparent or (in Scotland) an heir presumptive.
Because of their importance in identification, particularly in seals on legal documents, the use of arms was strictly regulated; few countries continue in this today. This has been carried out by heralds and the study of coats of arms is therefore called "heraldry". Some other traditions (e.g., Polish heraldry) are less restrictive — allowing, for example, all members of a dynastic house or family to use the same arms, although one or more elements may be reserved to the head of the house.
In time, the use of arms spread from military entities to educational institutes, and other establishments. According to a design institute article, "The modern logo and corporate livery have evolved from the battle standard and military uniform of medieval times".
In his book, The Visual Culture of Violence in the Late Middle Ages, Valentin Groebner argues that the images composed on coats of arms are in many cases designed to convey a feeling of power and strength, often in military terms. The author Helen Stuart argues that some coats of arms were a form of corporate logo. Museums on medieval armory also point out that as emblems they may be viewed as precursors to the corporate logos of modern society, used for group identity formation.
When knights were so encased in armour that no means of identifying them was left, the practice was introduced of painting their insignia of honour on their shield as an easy method of distinguishing them. Originally these were granted only to individuals, but were afterward made hereditary in England by King Richard I, during his crusade to Palestine.
--------------------
In heraldry and vexillology, the double-headed eagle (or double-eagle) is a charge associated with the concept of Empire. Most modern uses of the symbol are directly or indirectly associated with its use by the late Byzantine Empire, originally a dynastic emblem of the Palaiologoi. It was adopted during the Late Medieval to Early Modern period in the Holy Roman Empire on the one hand, and in Orthodox principalities (Serbia and Russia) on the other, representing an augmentation of the (single-headed) eagle or Aquila associated with the Roman Empire. In a few places, among them the Holy Roman Empire and Russia, the motif was further augmented to create the less prominent triple-headed eagle.
The motif has predecessors in Bronze Age art, found in Illyria, Mycenaean Greece, and in the Ancient Near East, especially in Hittite iconography. It re-appeared during the High Middle Ages, from around the 10th or 11th centuries, and was notably used by the Byzantine Empire, but 11th or 12th century representations have also been found originating from Islamic Spain, France and the Serbian principality of Raška. From the 13th century onward, it became even more widespread, and was used by the Seljuk Sultanate of Rum and the Mamluk Sultanate within the Islamic world, and within the Christian world by the Holy Roman Empire, Serbia, several medieval Albanian noble families and Russia.
History
Bronze Age
Polycephalous mythological beasts are very frequent in the Bronze Age and Iron Age pictorial legacy of the Ancient Near East, especially in the Assyrian sphere. These latter were adopted by the Hittites. Use of the double-headed eagle in Hittite imagery has been interpreted as "royal insignia". A monumental Hittite relief of a double-headed eagle grasping two hares is found at the eastern pier of the Sphinx Gate at Alaca Hüyük. For more examples of double-headed eagles in the Hittite context see Jesse David Chariton, "The Function of the Double-Headed Eagle at Yazılıkaya."
In Mycenaean Greece, evidence of the double-eagle motif was discovered in Grave Circle A, an elite Mycenaean cemetery; the motif was part of a series of gold jewelry, possibly a necklace with a repeating design.
Middle Ages
After the Bronze Age collapse, there is a gap of more than two millennia before the re-appearance of the double-headed eagle motif. The earliest occurrence in the context of the Byzantine Empire appears to be on a silk brocade dated to the 10th century, which was, however, likely manufactured in Islamic Spain;similarly early examples, from the 10th or 11th century, are from Bulgaria and from France.
Byzantine Empire
The early Byzantine Empire continued to use the (single-headed) imperial eagle motif. The double-headed eagle appears only in the medieval period, by about the 10th century in Byzantine art, but as an imperial emblem only much later, during the final century of the Palaiologos dynasty. In Western European sources, it appears as a Byzantine state emblem since at least the 15th century.
A modern theory, forwarded by Zapheiriou (1947), connected the introduction of the motif to Byzantine Emperor Isaac I Komnenos (1057–1059), whose family originated in Paphlagonia. Zapheiriou supposed that the Hittite motif of the double-headed bird, associated with the Paphlagonian city of Gangra (where it was known as Haga, Χάγκα) might have been brought to the Byzantine Empire by the Komnenoi.
(THIS PICTURE FOR DISPLAY ONLY)
-------------------------
Thanks for choosing this sale. You may email for alternate payment arrangements. We combine shipping. Please pay promptly after the auction. The item will be shipped upon receipt of funds.
WE ARE GOING GREEN, SO WE DO SOMETIMES USE CLEAN RECYCLED MATERIALS TO SHIP.
Please leave feedback when you have received the item and are satisfied. Please respond when you have received the item.
*****
5*'s
*****
If you were pleased with this transaction, please respond with all 5 stars! If you are not pleased, let us know via e-mail. Our goal is for 5-star service. We want you to be a satisfied, return customer.
Please express any concerns or questions. More pictures are available upon request. The winning bid will incur the cost of S/H INSURED FEDEX OR USPS. See rate calculator or email FOR ESTIMATE. International Bidders are Welcome but be mindful if your country is excluded from safe shipping.
Thanks for perusing THIS and ALL our auctions.
Please Check out our other items!
WE like the curious and odd.
BUY, BYE!!
