Neoclassical Sterling Silver

Classical sterling silver compote. Made by John Wendt for Ball, Black in New York, ca 1870. Round and curved bowl mounted to open support comprising three leafing oak shoots with acorns inset with cast figure of standing boy holding a ball in each hand with one arm raised. Domed foot. Reeding and beading. A fashionable centerpiece evocative of youth and growth. The figure suggests the influence of the Dancing Faun, the ancient statue...

Neoclassical style, Victorian period, sterling silver tazza, Gorham Manufacturing Co., Providence, Rhode Island, year hallmarked for 1901. Decorated with grapes and mythological face...

English Georgian sterling silver condiment shaker, late 18th century. Baluster on raised foot. Cover pierced with engraved diaper and twisted finial. Worn marks include crowned T (bo...

Turn-of-the-century Edwardian sterling silver trophy cup. Made by Reed & Barton in Taunton, Mass. Faceted baluster with scalloped and beaded rim. Reeded and leaf-capped, -wrapped, an...

Hallmarked in London in 1798 by Henry Greenway, this handsome, George III, antique, sterling silver ink stand, is plain in style, and feature...

Hallmarked in London in 1811 by Peter & William Bateman, this stunning, Antique Sterling Silver Goblet, is in the neoclassical taste, featuring brightcut engraved decoration througho...

Hallmarked in London in 1778 by William Plummer, this delightful, George III, Antique sterling silver basket, features engraved and pierced decoration, and bead borders. The basket m...

A pair of early 19th century (1828 – 1859) Italian Antique silver oil lamps (Lucerne) by Vincenzo Belli II. They are in the “Retour d’Egypte St...

Hallmarked in London in 1802 & 1803 by John Emes, this handsome set of 4, George III, Antique sterling silver sauce tureens, are 'Boat' shaped, and plain in design, featuring reed bo...

A pair of Gorham sterling silver Chambersticks, circa 1920-1930. A beautiful Repoussé pattern of roses, fans, shells, and scrolls. Each with a finger holder, charming for the bedsid...

Hallmarked in London in 1798 by Crispin Fuller, this stunning, George III, Antique Sterling Silver Tray, is in the Neoclassical style, fea...

Basket with handle of precious metal silver design Schwarz & Steiner Vienna. An object handicrafted and designed with rich detailwork. Although manufactured most probably during the ...

A fine 19th century French silver (.950 fine) porringer or écuelle, showing a circular bowl rising to neoclassical inspired 'reed & ribbon' decorated rim with pierced foliate cast ha...

Hallmarked in London in 1792 by John Hutson, this very handsome, George III, Antique Sterling Silver Salver, is plain in style, round in shape, and features reed borders, and reed de...

This is a sterling 925 rectangular serving tray. It has fluted edge and its border is adorned with a bas-relief garland of leaves. Below the t...

This exquisitely beautiful sterling silver coffee or tea breakfast service by Odiot Paris will create a refined ambiance for your table. Set consists of three matching, handmade pieces from the early twentieth century. The small serving vessel for coffee or tea features a carved, lacquered black wooden handle and a hinged lid with a decorative finial. Serving vessel measures approximately 7” high x 5.5” wide x 4” deep. A creamer with a carved, lacquered black wooden handle measures approximately 3” high x 4.25” wide x 2.75” deep. A sugar bowl with 2 silver handles and a lid with a decorative finial measures approximately 4” high x 5.75 wide x 4” deep. Founded in Paris in 1690, Jean-Baptiste-Claude Odiot began a silver and goldsmith house which to this day is among the most prestigious in the world. For centuries, the Odiot house has been an ambassador for French excellence. From the 17th to the 21st centuries, Odiot is synonymous with opulent luxury and timeless elegance. Monogrammed with an “M”, which may be removed. Hallmarked on the bottoms, “Mon Odiot...

This is a Fred Hirsch & Co. Sterling dish bowl. It is adorned in the top with a gadrooning border, followed by a flat band and then, kind of a rope design. Below the base is the Fred...

This beautiful silver coffee and tea set is made around 1900 in Belgium. The design is inspired by 18th century Neoclassical style, the individual elements create a unique touch. P...

These amazing and heavy sterling silver 19thc vases with removable cranberry glass inserts are in fine condition. The sterling bases are marked sterling and also have hall marks on t...

Neoclassical style, Continental Silver (.800) centerpiece, Germany, Ca. 1915, M.T. Wetzlar - maker. The white, frosted glass bowl is supported by four Continental Silver fluted colum...

Neoclassical, sterling silver mug/cup, Providence, Rhode Island, Ca. 1880's, Whiting Mfg. Co. - maker. Measures almost 4 inches high x 4 1/2 inches wide fr...

Hallmarked in London in 1787, this striking set of four George III, Antique Sterling Silver Wine Coasters, feature pierced and eng...

George V sterling silver sugar caster. Made by William Hutton & Sons, Ltd in Sheffield in 1911. Girdled baluster on domed foot. Cover has ornamental piercing and vasiform finial. Ful...

This elegant neoclassical style tazza was realized by the esteemed maker Reed and Barton- one of America's finest silversmiths since 1824. It features a circular base and a scalloped...

English Georgian neoclassical sterling silver basket, ca 1790. Ovoid body on same foot with reeded c-scroll swing handle. Engraved wavy-s...

Pair of George III silver wine coasters with pierced and engraved neoclassical pierced and engraved decoration and fine beaded borders. This attractive pair has its original turned w...

Classical sterling silver covered urn. Made by Currier & Roby in New York, ca 1920. Girdled bowl with leaf-capped s-scroll side handles, stepped foot and stepped and domed cover with...

Each of the neoclassical pair of 20th century Danish silver plated salt shakers stand on four acanthus-leafed feet. The surfaces are embellished with undulating ribbing. The bottoms ...

Sterling silver lions' head salt. Neapolitan silver salt / bud vase of circular form with reed and bead rim bordering silver bowl supported on tri...

Oliera italiana in Argento di provenienza lombarda, della città di Brescia 1812/1872. Servizio da tavola, cestello ovale in argento contenente le ampolle dell'olio e dell'aceto. Su d...

From Milan a 19th century Italian silver and crystal compote bowl in good condition from a private collection. This antique Neoclassical covered compote bowl has a very fine hand-chased vegetal decoration and engraving, a lovely cast engraved silver 800/000 finial and shows silver-maker’s mark for Cristoforo Corbella active in the first half of 19th century in Milan, contrada degli Orefici 3194. This antique silver compote of supreme craftsmanship stands on a three-lobed pedestal base with B L monogram engraved in the central part, features tripod legs decorated with neoclassical motifs, scrolls, flowers, rosettes supporting a circular upper ring adorned with elegant acanthus leafed piercing. Engraved crystal cup and a cover finely engraved with geometrical and vegetal pattern, surmounted by a cast gem finial. The following marks can be seen on the bottom of the foot and the upper edge of the compote, (the original descriptions are reported, as they appear on the documents of the State Archive of Milan): 1) “Forma eptagona. Globo col Zodiaco ed i setti (sic) Trioni” Heptagon form. Globe with the Zodiac and the seven Trioni (seven stars of the Ursa Major) Mark of the Guarantee Office in use in the Napoleonic Kingdom of Italy from 1812 for works with a title of 800 thousandths. 2) "Aratro" Plow Mark of the Guarantee Office in use in the Napoleonic Kingdom of Italy from 1812. 3) "insegna della Luna Piena...

Russian malachite and silver table by Imperial silversmiths the Grachev Brothers Russian, 1884 Measures: Height 85cm, width 113cm, depth 63cm This beautiful silver table was man...

Sterling silver anthemion salt. Neapolitan silver salt / bud vase of circular form with anthemion engraved rim bordering vermeil washed bowl supported on tripartite base capped by an...

An American two-piece sterling silver hollowware carving set - pattern and maker unknown, circa 1930s. The knife has a stainless steel blade, the fork has a swing support to keep yo...

A set of seven, sterling silver butter pats, circa 1940s. Marked Sterling, with a running rope bordered rim. Each pat is faintly initialed with a G. The pats can also be used to hold a tea bag...

12 table place card in sterling silver. They are made in fusion and engraving finishing, as a copy of the Roman columns as can be admired in the Roman Forum in Rome. Silver Art - A...

Pair of vermeil and cut glass claret jugs by Tétard French, early 20th century Measures: Height 27cm, width 14cm, depth 12cm This superb pair of claret jugs is by the French fir...

Fine George III silver gilt cup and cover, once the property of the Abel-Smith banking family of Hertfordshire. The Abel-Smiths were also members of th...

Tall, Edwardian, sterling silver, neoclassical, column-form candlesticks, Birmingham, England, 1914, Bayliss and Coulthard - makers. Measures: 12 1/2 high x 5 wide x 5 deep (at squar...

108-piece sterling silver flatware service in neoclassical style, in its oak case crafted by the silversmith Gorini Frères. The set includes an array of ...

This is a beautiful set of mother of pearl handled fish slice and fork. The stainless steel blade is engraved with a small floral design. Both the slice and...

The second in a series by Towle Silver Company "Two Turtle Doves" issued in 1972. Originally intended as a Christmas ornament or to be worn as a pend...

Pair of silver & glass lemon tea holders, 1925, London Made by S Zimmermann a famous London Judaica Silversmith.

Hallmarked in London in 1793 and 1795 by John Denziloe, this handsome, George III, pair of antique sterling silver goblets, are plain in style, and feature gilt interiors. Each goble...

A sterling silver celery or relish tray by S. Kirk & Son, circa 1940s. An oval tray with a ruffled rim. Marked: S. Kirk & Son, Sterling 170. Measures: 7...

Dutch Neoclassical 934 silver salver, late 18 c. Round. Open gallery sides with flowering rinceaux and beaded rim. Four fluted and tapering supports. Fully marked...

Leontina, late 19th century. Leontine made up of six chains attached to a ring decorated with scrolls and small earrings, from which a series of objects and hooks for small items h...

A sterling silver celery tray by Gorham, circa 1940s. A rectangular paneled tray with a rolled, shaped rim, very heavy in weight. Marked: Gorham Sterling...

Silver 800 and enamel music box signed Fallaci Firenze. Italy, circa 1930. Marked silver 800. Machine signed "Thorens Switzerland".   

These elegant silver frames were made in 2007 by the Carrs Silver company in Sheffield, England. Carrs Silver was founded in 1977 by Ron Carrs and it is still in business today. The ...

Bowls are stamped and measured below- : All in very good condition. Wallace sterling bowl - sterling 156 - 6in diameter x1.5 depth Towle sterling - 6 in diameter x 1.5 depth Sterl...

Classical sterling silver trophy cup. Traditional amphora urn with high-looping side handles and stepped and raised foot. Cover domed with engraved bands ...

Embossed and engraved silver plaque La Madonna del lago (The Madonna of the Lake) Probably Milan, post 1824 Brass frame It measures 16.14 in x 13.85 in (41 x 35.2 cm) and it weighs 10.357 pounds (4.698 g): silver 1.31 pounds (598 g) + brass 9.03 pounds (4.100 g) State of conservation: some abrasions on the bottom. The frame is old, but not original. The plaque is made up of a sheet of embossed and engraved silver, and held in a solid brass frame. It depicts the “Madonna del lago” – “Madonna of the Lake” - (the Madonna with Child and San Giovannino) by Marco d'Oggiono (Oggiono, 1474 circa - Milan, 1524 circa), while changing only the background landscape. Almost certainly the subject reproduced in the plaque was taken from a famous engraving by Giuseppe Longhi (Monza, 1766 - Milan, 1831), one of the greatest engravers of his era. The silver is unmarked, probably because originally the Madonna was due to be exposed in a church: sometimes precious metals destined for worship and liturgical use would be exempted from payment and were, therefore, not marked. It is very likely that the plaque was made in Milan because in this city in 1824 the engraving by Giuseppe Longhi was made and printed. In addition, in Milan, the alleged lost painting by Leonardo da Vinci in his Milanese period (1482-1500) would be produced; this is the painting from which Marco d'Oggiono took his version. The painting Marco d?Oggiono was one of Leonardo da Vinci's most brilliant students and collaborators (D. Sedini, Marco d’Oggiono, tradizione e rinnovamento in Lombardia tra Quattrocento e Cinquecento, Roma 1989, pp. 151-153, n. 56; p. 225, n. 124, with previous bibliography). His style reflects in every way that of the Tuscan Maestro, so much so that he was the one who executed some copies of da Vinci's paintings. The execution of the “Madonna del Lago” probably draws inspiration from a lost painting by the Maestro, created while he was living in Milan (1482-1500). There are many similarities with other works by Leonardo such as the “Vergine delle rocce” or the “Vergine con il Bambino e San Giovannino, Sant’Anna e l’Agnello”. The painting, from which the drawing and then the famous engraving were taken, is found today at the M&G Museum of Bob Jones University in Greenville, South Carolina, where it came to rest after the sale of the Harrington Collection in London in 1917. The work appears in the inventories of the collection of Napoleon and Joséphine Bonaparte at the castle of Malmaison, before 1809. The Malmaison building was born and developed in the 17th and 18th centuries. In the 18th century it belonged to Jacques-Jean Le Coulteux du Molay, a wealthy banker. Later, during the Directory, Joséphine Bonaparte de Beauharnais bought it on April 21st, 1799, but settled at the castle definitively only after her husband separated from her in 1809. She remained there until 1814, the year of her death. When Joséphine died, the estate passed to her son Eugène de Beauharnais, who moved to Munich with his whole family in 1815, bringing with him the collection of paintings he inherited from his mother. Eugène died in 1824 and his wife Augusta of Bavaria (von Bayern), unable to keep it, in 1828 sold the Malmaison to the Swedish banker Jonas-Philip Hagerman. It is likely that in this period Augusta also sold part of the paintings inherited from her husband, including the “Madonna del Lago”. This painting then came into the possession of Leicester Stanhope, fifth Earl of Harrington (1784 - 1862) and then was passed down to his descendants. In 1917, at the death of Charles, eighth Earl of Harrington, his brother Dudley inherited the title and properties and he put up a part of his collections for sale. Among these, precisely, the painting by Marco d'Oggiono was to be found. On the occasion of that auction the painting was presented as a work by Cesare da Sesto, by virtue of a handwritten note by the Countess of Harrington on the back of the table. However, already in 1857, the German critic Gustav Waagen had identified Marco d'Oggiono as the author of the painting, then exhibited in the dining room of Harrington House in London (Treasures of Art in Great Britain, in 4 volumes, London, 1854 and 1857). The engraving Giuseppe Longhi was one of the most renowned engravers in Italy between the end of the 18th century and the first quarter of the 19th century. In 1824 Giuseppe Longhi, based on a design by Paolo Caronni, made a famous engraving of the painting of Marco d?Oggiono. The activity of Longhi was then at the peak of his notoriety, enough to earn him very substantial commissions; it is not risky to suppose that some of his successful engravings were also reproduced using other means: in our case in silver. (A. Crespi, a cura di, Giuseppe Longhi 1766–1831 e Raffaello Morghen...

Neoclassical - style, Continental Silver (.800), footed, double inkstand, Denmark, year-hallmarked for 1901, A. N. Dragsted - maker. Each of the wells is decorated with bows and garl...

Chofeta. Silver in its color, etc. Royal Factory of Antonio Martínez or Platerías Martínez, Madrid, 1832. With contrast marks Bowl-shaped piece used to place embers in it and burn ...

Set of 3 Etruscan Revival sterling silver tureens. Made by JC Moore & Son for Tiffany & Co. in New York, circa 1865. This set comprises 1 large round tureen and 2 small oval tureens....

Silversmith L. B. Small silver soup tureen or puerperal cup with plate and lid Milan, around 1830 Height 19.5 cm (7.67 in) - diameter 21.7 cm (8.54 in) lb 2.14 (kg 0.97) State of conservation: slight use defects and a dent on the plate. From about the mid-16th century, the puerperal soup tureen or puerperal cup became one of the most popular wedding gifts in central Italy. As an auspicious symbol, it replaced the birth table...

A timeless set for tea and coffee in neoclassical form in silver 950 with wood handle, from the maker Jean E. Puiforcat These are a beautiful and timeless set for tea and coffee, co...