Pair of 19th Century Continental Silver Table Figures of Peacocks

Pair of 19th century Chelsea Porcelain figures of seated poodles & pups England, Circa 1850s A rare find, a true pair of Chelsea Porcelain (Attributed) poodles and pups. Both fig...

Pair of 19th Century English Painted Bisque 'Obedience & Reward' Dog Figures England, Circa 1880s Both with impressed numbers #1242/ 20 and #1242/23 and painters marks The charms...

Antique loth silver ecclesiastical figure of Sankt Peter, holding a book and keys standing 6.75" high, Hallmarked with a blank elliptical mark, "N" (Nurnberg?), topiary style mark...

Pair of 19th century grand tour Roman feet bronze candlesticks, each one realistically cast of one pair of human feet, that hold one standard candle.

19th century portrait bust of William Shakespeare, Vividly painted, a striking portrait of the English playwright, poet, and actor. Raised on a pedestal base with a neoclassical urn....

Pair of 19th century Staffordshire figures of Recumbent Sheep. England, circa 1860s. A diminutive pair of expressive pair of Staffordshire pottery sheep with textured bodies. Som...

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...

Pair of German, continental silver tazza or footed bowl by prestigious royal maker Gebrüder Friedländer, from the late 19th century, with flowing, stylized, scroll and foliate motifs...

Neresheimer, German continental 0.800 silver pair of compotes or footed centerpiece bowls displaying exquisite craftsmanship in the hammering of the silver and in the delicate decorative motifs adorning the body of the centerpieces from the late 19th or early 20th century. Each measures 8 5/8'' in height by 9 7/8'' in diameter at the top and bears hallmarks as shown. Total weight is an impressive 97 troy ounces. Neresheimer was founded in 1890 as a partnership of August and Ludwig Neresheimer with Jean Schlingloff. Right from the start Neresheimer offered a wide range of highly decorative objects like nefs, tankards, coconut and nautilus cups...

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

A Pair of Artistically created birds for table decor, silver-plated peacocks - ideal for a coffee table or bookends. These figures are Classic Hollywood Regency! They are each unique...

Set of six silver teaspoons, the handles simulating a bamboo branch topped with sinister palace figures, two of which have inscriptions on the back. Asian work, weight: 75.70 G.