Silver Wall-mounted Sculptures

Large "Ultima Cena De Jesus" Made in Italy silver plated metal 1960s Reproduction of Leonardo Da Vinci's Cenacle, or Last Supper, episode of the Gospel of John: Jesus is in Jerusalem...

5220 Italian hand carved wood equestrian wall sculpture

Award plaque made by Christofle and commissioned by the Societe des Agriculteurs de France. It was issued to Theodore Maldan in 1887.

1970s Abstract Wall Art Plaque by Emaus Benedictine Monks of Cuernavaca, Mexico Maker stamped 8 w x 8 h x 1 d Handmade solid mahogany wood and Sterling Silver. Original unrestored vi...

A large Japanese patinated bronze Mixed metal charger Meiji period Finely decorated in gold, silver, copper and bronze. Naturalistically accurate...

Discover a unique and exceptional piece of religious art with this impressive gilded silver Orthodox cross, dated 1750. An object of devotion and sacred art that carries a rich histo...

For your consideration, a mid-century Mexican modernism last supper modern abstract art plaque by Emaus, Benedictine Community Monks of Talleres Monasticos Cuernavaca, Mexico. Made i...

A very cool large modernist ebonized wood and mixed metals (sterling, brass & copper) "Last Supper" plaque / wall sculpture by Talleres Monasticos ...

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 romantic antique silver-plated tray or plaque in from an Art Nouveau or Deco design. Circa early 1900s. Could be displayed hanging or on a table with the attached stand. An endurin...

England, London 18th Century pair of sterling silver sugar nips put in wooden black frames with glass. The wooden frames are a contemporary...

A fine antique Italian Pietra Dura Grand Tour marquetry stone picture panel, circa 1870. This very attractive plaque depicts a cavalier standing and taking a drink from a canteen, th...

Large bas-relief Piazza San Marco (Venice), 1000 silver, 1980s Splendid reproduction of one of the most beautiful places in the world. External dimensions 115 cm wide x 64 cm high. V...

Rare 18th century giltwood framed carved and polychrome wax silver and gold decorated figure of saint Catherine of Alexandria icon, with original gilt frame. The rarity of this piece...

Vintage Wild Boar Tusk Trophies with Sterling Silver Mounting plaques - Set of 3, Spain 1942, 1945, 1946. A vintage trio set of wild boar (Sus scrofa) t...

Angel Emilio Greco Italy 1980 Silver Metal Bas-relief Plexiglass Base Ed 62/300 Artist Sign engraved Excellent condiction Bas-relief: 24x30 cm Plexiglass base: 33x26 cm

Silver and turquoise on copper plates attributed to Graziella Laffi with images of a warrior god and llama. Unsigned. Wonderful patina.

A very cool modernist ebonized wood and mixed metals (sterling, brass & copper) "Last Supper" plaque / wall sculpture by Talleres Monasticos - work...

An Anglo-Indian wall-mounted mirror with elephant head motifs and hooks. The piece features a central oval mirror surrounded by a brass frame with three detailed elephant head figure...

Jennifer Trask engages nature as both medium and subject, crafting intricate sculptures that merge unexpected materials—bone, vertebrae, butterfly wings, resin, metal, and antique fr...

For your consideration, a mid-century modern large "Last Supper" abstract wall art sculpture modernist plaque by Emaus, Benedictine Monks of Cuernavaca, Mexico. Maker stamp. Solid ma...

In 19th-century Tibet, many men carried a fire striker to help ensure survival in the often-harsh climate of the Tibetan Plateau. Known as mechag, such st...

Contemporary modern Murano Art glass sculpture, a decorative panel displayed on a dark grey iron base, realized as a colorful Mosaic, grey, yellow, burgundy, white and black murrine, aqua blue, amethyst purple glass...

Square wall appliqué/ sculpture composed of metal leaf and cellulose on wood by Nicola Perilli. Panels can be sold individually.

PAIR of Italian Rococo (mid-18th Century) carved silver gilt pilaster wall plaques with bird and floral carving under an Ionic capital pediment (PRICED ...

Hand tooled sterling silver and brass on mahogany, made in Mexico by Catholic monks of the Benedictine Order circa 1960s.

Rectangular metal leaf and plaster wall appliqué encased in acrylic by Nicola Perilli.

Silver leaf over wood totem wall sculpture in the style of Louise Nevelson. This is one of two. (Other is Gold leaf). Louise Nevelson (September 23, 1899–April 17, 1988) was an Ameri...

Title: Kintsugi Study, #12 (Kazan - volcano), Kintsugi Study, #13 (Fields and Valley), Kinstugi Study, #11 (Crossroads) Year: 2015 Each 23.5-inch square reclaimed ceramic panel has...

Small framed KPM porcelain picture plate in silver(?) frame with architectural view and hunting dogs playing in the foreground.

Offered is a "rebenque", a vintage Gaucho horse and cow herd riding crop made of tooled aged dark brown leather and embellished with a forged silver stem and handle. It measures 20...

Hand tooled sterling silver and brass on mahogany, made in Mexico by Catholic monks of the Benedictine Order circa 1960s.

Antique mid 19th Century Victorian electroplated charger, featuring a depiction of William Shakespeare, Born 23 April 1561 - Died 23 April 1616. The charger is of a notably large siz...

Description: D. João V style salver with floral motifs and relief shells. Metal: Silver. Origin: Portuguese. Mark: spread-wing eagle. Weight: 1541.00 grams. Dimensions: 50cmx5.5cm. C...