Cristoforo Corbella Sterling Silver

A very decorative neoclassical silver urn stamped by the Italian silversmith Emanuele Caber, dating from around 1825. It has the Milan warranty stamp, and stamp of the silver finenes...

Pair of 5-light candelabra in 925 sterling silver in neoclassical style. Candelabra formed by an iron eye stem and a Hellenic part in Ionic style in 925 silver. The iron eye is a sto...

Completely handmade sterling silver candy box. The box is round and pot-bellied. Embossments and chisels of flowers were made all over the body. The box is divided into three sect...

Based in Corning, NY, T.G. Hawkes & Co. (circa 1880-1959) was established by Thomas Gibbons Hawkes (1846-1913). Born in Ireland, Hawkes immigrated to Brooklyn in 1862, then moved to ...

Pair Italian neoclassical silver salts with hermes. Pair of antique neoclassical sterling silver salt stands of Empire tripod form with pierced anthemion band supported by Hermès on ...

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 elegant pair of Austro-Hungarian neoclassical silver candlesticks. Each on circular foot, engraved with flower panels, slightly tapering stem...

This is a wonderful antique Victorian sterling silver-gilt mounted claret jug, with makers mark for W&G Sissons and hallmarks for Sheffield 1873. The silver-gilt mounted claret ju...

Gorgeous Italian solid silver vase. Body made in one piece without welding. Embossed and chiseled, of rare beauty and precision. Two important handles made of fusion and finely chiseled were welded onto the vase. The inside of the vase has been gilded in thickness with a non-glossy technique in order to make the overhangs visible and appreciable also on the inside. The vase was marked with the "800" but it was not possible to identify the master silversmith On both sides, the names of the owners of the vase, Maria and Gianni, have been engraved by hand Weight: 1184 grams Sizes: Height cm. 30 at the handles Height cm. 23 vase Width cm. 33 at the handles Width cm. 18 vase.

Drageoir in silver and crystal blown and carved. The drageoir is decorated on both sides with finely chiselled motifs representing children in gardener...

Pair of early 19th century Georgian sterling silver covered entree dishes. Identical forms and design with elegant shaped octagonal sides. Each cover has a solid ornate detachable ha...

19th century continental silver and cut crystal pitcher.