Arval Argenti Valenza Natural Specimens

Italian sterling silver Chalice finely embossed and chiselled 800 punch at the base. cup in golden bath. Excellent condition with its original packaging.

Statue in silver metal designed by the Maestro Gio Ponti and produced for Lino Sabattini since the end of '70s. The sculpture is in silver metal and represents a horse. This example ...

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...

An exceptional, fine and impressive antique Edwardian English sterling silver drinking compendium; an addition to our wine and drink related silverware collection. This exceptional antique Edwardian sterling silver drinking compendium consists of a water jug, a large quart mug* and a half-pint mug. Each piece of this impressive set has a plain tapering cylindrical form. The body of each piece is plain and unembellished. The antique water jug...

Pair of 800 silver pheasants. Gold vermeil. European (probably Austria).   

A Milanese sterling silver 20th century fountain centrepiece Measures: Height: 33cm, width: 47cm, depth: 42cm. This stunning centrepiece is an Italian sterling silver fountain, made in Milan in the twentieth century. The piece, set on fish-shaped legs, and decorated with mythical sea-monsters from whose mouths the water flows, consists of a rectangular shaped basin divided into four shell-shaped quadrants which are adorned with small silver crabs. A smaller basin...

A remarkable Victorian style handcrafted chiseled sterling silver epergne by Italian silversmith Argenteria Auge from Milan. The entire epergne is beautifully embellished with flower...

Flower centrepiece is a precious decorative object realized in the 20th century. A very elegant silver centrepiece in the shape of a flower Supported by three small feet under ...

An exceptional, fine and impressive antique George V English sterling silver galleried double inkstand; an addition to our ornamental office silverware collection This exceptional...

Novelty 20th century solid silver wager / marriage cup, the cups design inspired by the early 16th century German example, modelled as a female figure sup...

Silver vase is a precious decorative object realized in the mid-20th century. Very refined vase in the shape of an Amphora, made in the mid-20th century. Kgs. 0.76 Finely decor...

An exceptional, fine and impressive antique Edwardian English sterling silver jewelry box; an addition to the ornamental silverware collection This exceptional antique silver jewelry box, in sterling standard, has been modelled in the form of a dressing table. The surface of this Edwardian jewelry box is plain and embellished with two applied sterling silver balls to the anterior convex arched surface, replicating the details of the draw handles. The original hallmarked hinged cover is plain and parallels the shape of the body, opening to reveal the original segmented velvet interior. The weighted base of this exceptional antique box retains the original leatherette covering to the underside. The box is supported by four subtly tapering pillar style legs Note: The majority of such boxes have a wood lining to the interior; it is a sign of quality when boxes have unlined interiors in addition to a solid silver cover. Condition This antique silver box is an exceptional gauge of silver, exceptional quality and in exceptional presentation condition. The box has been professionally polished and is in presentation condition. The original interior and leatherette covering have wear in keeping with age and use. Full hallmarks struck to the surface of the body and part hallmarks to the interior of the cover are all very clear. Reflections in photographs may detract from the true representation of this piece of antique Edwardian jewelry...