La Medusa Oro Serveware, Ceramics, Silver and Glass

Astonishing swan in glass and Sterling Silver from the 20th century The glass in a form of a nautilus shell, the setting finely chiseled in the natural setting...

A 19th century miniature wooden bookcase An oak miniature bookcase, raised on plinth and 2 charming shelves. (2 loose shelves) Decorated at the fron...

Fine Quality Chinese Polished Heavy Gauge Ebony Walking Cane Stick with Highly Decorative Embossed Silver Grip, made in China during the last quarter of the Nineteenth Century. Th...

This stunning jam jar showcases rigor of form and beautiful craftsmanship, It was made by Messulam Argenti drawing inspiration from an 18th century English ceramic sugar box. This j...

An exceptional, fine and impressive vintage cast English sterling silver model of a labrador; part of our animal related silverware collection. This exceptional, fine and impressive vintage silver dog ornament...

Presenting a captivating collection of nine meticulously crafted American silver snowflake ornaments, each one representing a distinct year's edition. Among them, three have been exp...

Late 20th century 925 sterling silver bowl by Victoria Silverware Ltd. Made in England, Birmingham, 1996 Fully hallmarked. Dimensions: Height: 13.3 cm Width: 16.5 cm Weight: 368 g...

Antique Early 20th century sterling silver flask. Made in Europe, most likely Spain, Circa 1920-1930's. Hallmarked with a star, Spanish silver hallmark. X-Ray Tested Confirmed ...

A fine handmade sterling silver Art Deco style water pitcher, ebonized wood handle. Weight: 965 grams.

This English 1950s heavy sterling silver bracelet has 17 large three-dimensional charms and opens or closes with a heart shaped padlock on a little safety chain. Some of the charms have moving or opening parts. The windmill really turns, the lid of the beer mug opens, the ship opens up, the leaves on the orange are separate from the orange, the bellow bellows, the treasury chest opens, the corn has loose leaves and the scissors 'cut'. Three of them are European solid silver pendants: the acorn (Italy 925) the long pendant (sword Dutch 835, used from 1906-1953) the German beer mug...

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...

Playful true-to-life silver rhinoceros that serves as a lighter other than being a decorative artwork in its own right. Expertly handcrafted by the F...