Mauro Fancelli

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...

Playful true to life silver frog that serves as a lighter other than being a decorative piece of artwork. Expertly handmade by the Florentine silversmiths, the Lisi Brothers, its rea...

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

Bronze jug is an original objectrealized by anonymous artist in the early 20th Century. A jug realized in ancient manner, in shape of a female head, with...

We are delighted to offer for sale this fully restored solid sterling silver Edward Barnard 1970 fully hallmarked rooster A good looking well made and decorative piece, its fully ...

Pair of porcelain parrots signed Meissen. Germany, early 20th century.

Brass Alam Persian hand Cutwork Calligraphy in the shape of a falcon, 20th century. The ornamental calligraphy arranged within a frame of a bird of prey -The Falcon. The letters are those of the Shia Muslim...

Presenting a remarkable 20th-century silver capercaillie sculpture, exquisitely attributed to the distinguished Buccellati workshop. This piece captures the essence of the capercaill...

Crafted with exquisite detail, this English early 20th Century cast iron door stop is shaped like a charming Scottie dog, evoking a lifelike presence. The intricate design captures t...

Highly realistic and detailed sculpture of a parrot with gilt silver legs perched on an amethyst base. This beautiful piece measures 6 1/3'' in height by 3 3/4'' in depth by 4 1/4'' in width. We hand polish all items...

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...

A Volkstedt porcelain model of a parrot German, early 20th century Measures: height 14cm, width 13cm, depth 6cm This bold, bright, and beautiful porcelain bird model of a parrot...