Italian Mid-Century
Mario Buccellati
Hanukkah Menorah
Sterling Silver
Circa 1950s
DIMENSIONS
Height: 18.25 inches Width: 16 inches Depth: 8.5 inches Weight: 87 ozt (2700 g)
DETAILS
Hallmarked “Mario Buccellati, 925
ABOUT THE MENORAH
This stunning Chanukah menorah is a remarkable fusion of tradition and classical design, crafted in the style of a Classical Greek Revival nine-branched candelabrum. Drawing inspiration from the grandeur of the Classical era, the menorah features a square base, atop which rises a majestic Corinthian column. The column is adorned with intricate volute motifs, scrolling foliage, and detailed scrollwork, culminating in nine oil lamps. A detachable servant light rests atop, and the base is elegantly finished with a chased cedar cone-shaped finial. The Corinthian order, developed in the 5th century BCE, is celebrated for its ornate beauty and refinement. Known for its slender, fluted shaft and elaborate capital, the Corinthian column is the most luxurious of the classical styles, with its intricate acanthus leaf and scroll carvings. Its proportions, traditionally defined as nine diameters to the column’s total height, embody a sense of opulence. The capital, richly ornamented with leaf and floral motifs, evokes the Mediterranean landscapes where these designs originated.
LITERATURE
For an illustration of a similar menorah see: M. Corgnati, "Mario Buccellati, Prince of Goldsmiths", Rizzoli, New York, 1998, p. 141
ABOUT MAKER
Founded in Milan in 1919 by Mario Buccellati, the Maison has become synonymous with unmatched craftsmanship and timeless beauty. Renowned for its unique goldsmithing techniques, Buccellati has captivated a distinguished clientele, including royalty, the Pope, and international celebrities. Over four generations, it has fused traditional handcraft with modern innovation, creating exquisite jewels and objets d'art that reflect styles from Ancient Greece to the Italian Renaissance. The Historical Collection, a testament to the brand's rich heritage, features masterpieces of jewelry and silverware crafted with exceptional goldsmithing skills. These unique creations, owned by royalty, divas, and even the Buccellati family, embody Italy’s cultural legacy and the Maison's enduring tradition of excellence.
$19.500
DIMENSIONS
Height: 2-15/16 inches Width: 4-15/16 inches Depth: 3-1/4 inches
ABOUT
This exceptionally unique Salt & Pepper Set, accompanied by a matching pair of spoons, is crafted in 925° sterling silver and stands as a striking example of both luxury and craftsmanship. The set is distinguished by its remarkable design, featuring smooth cabochon amber stones skillfully embedded into the covers of both the salt and pepper vessels, as well as into the handles of the accompanying spoons. The amber's warm, honeyed tones provide a stunning contrast to the polished gleam of the sterling silver, creating a sophisticated interplay of texture and color. The finely crafted vessels and spoons are fully marked, indicating their authenticity and the quality of their materials. The attention to detail in the design reflects a perfect balance between functional utility and refined elegance. The amber accents, with their natural radiance and organic beauty, enhance the overall aesthetic, making this set not only a functional dining accessory but also a true statement piece for any table setting. Whether for everyday use or special occasions, this Salt & Pepper Set with its complementary spoons offers a refined touch of luxury and is sure to be admired by those with a discerning eye for exquisite craftsmanship and design.
$750
English Art Deco
Table Cigarette Box
Sterling Silver | 925°
Pink Quartz, Black Onyx, Natural & Ebonized Wood
Circa 1930s
DIMENSIONS
Height: 3.25 inches Width: 19 inches Depth: 7.75 inches
MARKINGS
Hallmarked “925° “
The bottom is engraved with signature “H Hendin” on.
ABOUT
This exquisite table cigarette box serves as a striking example of how a refined, strictly geometric design elevates a functional object from the late Art Deco era into a true work of applied art. Preceding the streamlined Art Deco style of the 1940s, its design blends elegance with precision. Crafted from sterling silver, pink quartz, black onyx, and both natural and ebonized wood, the carefully chosen materials not only facilitate this transformation but also perfectly embody the aesthetics of the period.
$1,500
English Victorian
Silversmith: J. Wilmot
Edward VII Coronation
commemorative Presentation Spoon
Gilt Silver
1902
DIMENSIONS
Height: 10.25 inches Width: 2.25 inches Depth: 0.75 inches
ABOUT
This exquisitely crafted serving spoon, designed in a purely Victorian aesthetic, is made of gilt silver and fully hallmarked. It was created in the Birmingham workshop of renowned silversmith J. Wilmot. The stunning saffian leather presentation box features a top cover adorned with a Queens crown and an embossed inscription, reading "Edward VII. 26th June. 1902." This date is noteworthy due to an intriguing historical event that enhances the rarity and collectible value of the item. Edward VII ascended the throne on January 22, 1901, following the death of his mother, Queen Victoria, at the age of 59. His Coronation, originally scheduled for June 26, 1902, alongside his wife Alexandra, had to be postponed just two days prior due to an emergency appendectomy. The ceremony was rescheduled for August 9, 1902, making any items associated with the original date particularly scarce. The interior of the box is lined with rich wine-colored velvet, edged with delicate pink silk at the base, and adorned with white satin on the inside of the lid. Beneath the royal crown, the gold-embossed inscription identifies the retailer: "Under the patronage of H.M.G.M. the Queen. SPING & SON. 1 & 2 Gracechurch Street L.C. & 17 & 18 Piccadilly. W. LONDON."
$750
Mid-Century Modernism
Tommy Parzinger
for Dorlyn Silversmiths
Coffee Set
Silver Plate
Circa 1940s
DIMENSIONS
Height: 14 in (35.56 cm) Diameter: 6 in (15.24 cm)
DETAILS
Dorlyn Silversmiths makers mark on the bottom.
ABOUT
This is a striking American Modernist coffee and tea set crafted in substantial silver plate, envisioned by Tommi Parzinger for Dorlyn Silversmiths. Dating back to the 1940s, this set remains in superb vintage condition, having never been used. Its allure is enhanced by age-appropriate patina, adding a touch of character and history.
ABOUT ARTIST: Tommi Parzinger (German, 1903-1981)
German designer Tommy Parzinger brought high-style Modernism to the forefront. Taking a vivid, stylized approach to mid-century design, many of his works feature boldly colored lacquers and offbeat finishes that make his pieces stand out among the works of his peers. Despite his uniquely progressive vision, Parzinger showed equal expertise in producing fine, traditional furnishings.
$2,700
English Victorian
Mappin & Webb
Qajar-Style Biscuit Box
Silver Plated
England, Ca. 1870s
DIMENSIONS
Height: 8.5 in (21.59 cm) Diameter: 8.5 in (21.59 cm)
ABOUT
This magnificent Quajar-style biscuit box in heavy silver plate was crafted by Mappin & Webb, renowned for their exquisite craftsmanship. Dating back to the late 19th century, possibly from the 1870s, this English masterpiece boasts a cylindrical form adorned with a procession of oblong portraits set amidst intricate foliage and arabesque designs. Its detailed craftsmanship reflects the elegance and artistry of the era, making it a remarkable piece of historical and decorative significance.
$2,200
DIMENSIONS
Height: 7.75 inches Width: 18.25 inches Depth: 16.75 inches
WEIGHT
88oz (2,766g)
MARKINGS
Marked ‘800’ and two maker’s hallmarks (illegible)
CONDITION
Excellent antique condition consistent with age and use.
ABOUT
Amazing in its beauty and composition, as well as versatile in use; this unique silver centerpiece made in the 1870s features main Rococo design themes and content elements, such as sea shells as decorative details, and sexually charged gallant scene - this time between a naked beauty pouring water from a jug and a clearly aroused by her nakedness satyr, passionately seducing her. Particularly noteworthy is not only the skillful work of the silversmiths, but also the excellent presentation of both sculptural images. This centerpiece is definitely both, a decorative and functional high-level item that can decorate any interior.
ROCOCO was perhaps the most rebellious of design styles. First emerged in France during the 1720s and 30s, Rococo as a style developed by craftspeople and designers rather than architects, which explains why it is found primarily in furniture, silver and ceramics.
Rococo takes its name from the French word 'rocaille', which means rock or broken shell – natural motifs that often formed part of the designs, along with fish and other marine decorations. The acanthus leaf (Acanthus mollies), or rather a heavily stylized version of it, was also a signature motif. Another key feature of the design is its curved asymmetric ornamentation, where its forms often resemble the letters 'S' and 'C', and where one half of the design does not match the other.
Often described as the final expression of the Baroque movement, it was exceptionally ornamental and theatrical – a style without rules. Compared to the order, refinement and seriousness of the Classical style, Rococo was seen as superficial, degenerate and illogical; especially considering that its art mainly focuses on secular themes and leisurely times; depicting love stories, sexually charged escapades, and classical mythology.
SOLD
Mid-Century Italian Modern
tury Italian ModernBox
800° Silver, Agate, Malachite, Nacre & Wood
ca. 1960
ABOUT BOX
This unusual, finely handcrafted tabletop box most likely was intended to hold money. It unmistakable appearance immediately evokes the distinctive mid-20th century Italian modernist style - a combination of refined simplicity and luxury that has always been the hallmark of Italian design. Framed in heavy cast silver, the bottom surface and the surface of the top lid are made from solid slabs of black agate. The dynamic decorative geometric pattern of natural semi-precious stones covers the top slab with richly inlaid malachite ovals of different sizes and mother-of-pearl triangles of irregular shape. Moreover, these simple geometric elements are organized in such a way that a complete illusion of constant chaotic movement is created. The inside of the box is made of pear wood.
MARKINGS
Fully marked with ‘800°’, ‘Italy’ and ‘Made in Italy’ on silver edges. On the bottom slab of the box, the initial 'W' (unidentified work master) is inlaid.
DIMENSIONS Height: 1 1/16 inches Width: 6 5/16 inches Depth: 3 7/8 inches
$1,950
Spanish Baroque
Mirror/Picture Frame
Repoussé Silver
Spain, XVII Century
DIMENSIONS Height: 35 inches Width: 23.5 inches Depth: 1 1/8 inches Picture/mirror opening: 15 x 13 inches Weight: 7lb
ABOUT THE FRAME
Handmade during 17th century, this frame is a grandiose piece of master craft by an extraordinary Spanish silversmith. Exceptionally complex, not only in its exquisite and elaborate design, but also with the use of several silver working techniques at once, such as chasing, engraving and repose; this frame is certainly associated with grandeur and wealth, especially characteristic of the Baroque era and the distinctive style and can be definitely used both, as a mirror or a painting frame.
$9,500
ABOUT
This elegant Modernist large six-piece sterling silver service for coffee and tea is of a superb workmanship and consists of a tray, a coffee pot, a tea pot, a hot milk or chocolate pot, a sugar bowl and a milk jar. The entire set, designed in period-specific sleek stream-lined esthetics, resting on a large tray of an unusual triangular shape with rounded corners; and fitted with exotic rosewood handles at either side. Three teapots (for tea, coffee and hot milk) are also of an unusual oval-cylindrical shape and are equipped with exquisitely shaped handles made of rosewood wood and hinged lids. The shape of the sugar bowl and milk jug ingeniously follows the shape of the tray, providing an extraordinary visual interest. As shown on the photo, the underside of all the pieces are fully hallmarked reading: Mexico, Sterling and 925 along with the maker's mark 'RN'. This sterling silver and rosewood coffee/tea service is beautifully crafted and ideal for use or display.
MATERIALS
Sterling silver 925° , Rosewood
DIMENSIONS$
Tray: 26”L x 16”W Tea pot: 9”H x 10”D Coffee pot: 8”H x 9.5”D Hot milk pot: 7”H x 8.5”D Sugar bowl: 5”H x 4.25”D Creamer: 2.75” x 4.25”D
WEIGHT
Total weight: 190 oz (5386.41g), including the rosewood elements.
CONDITION
Excellent vintage condition. No restorations, scratches or dents. Wear consistent with age and use.
SALE
$17,500
30%
Wasen Anders Alexander
Russian Imperial 84° Silver
Candy Basket
St. Petersburg, Russia
1879
Workmaster (marked “W.A”): Wasen Anders Alexander, St. Petersburg, 1879
Essayist: marked with Russian initials “I.E.” (Unidentified) and dated 1879.
Good antique condition consistent with age and use.
Weight: 23.7oz (670 g)
Dimensions:
Height: 8.25 inches (20.95 cm) Length: 9.13 inches (23.19cm) Depth: 7.13 inches (18.11 cm)
SOLD
Russian Imperial 84° Silver
Presentation Tea SERVING Set
Workmaster: Grigoriy Sbitnev
Moscow, Russia
Ca. 1908
Workmaster (marked “G.S.”): Grigoriy Mikhailovich Sbitnev
Grigory Mikhailovich Sbitnev, owner of a factory of gold, silver and bronze products, founded in 1893, in Moscow.
In 1897, he employed 40 workers, and his factory produced items for 100,000 rubles.
Original wooden presentation box.
All four of the enclosed silver items were never used, like new.
Total weight (4 items): 6.1oz (171 g)
Dimensions of presentation box: 8.25 x 6.5 x 1.75 inches (20.62 x 16.25 x 4.37 inches)
Dimensions of silver items:
Tea strainer: 6.75 inches (16.87cm) Sugar scoop: 4.63 inches (11.57cm) Fork for lemon: 4.88 inches (12.2cm) Sugar tongs: 5.88 inches (14.7cm)
sold
Tom Otterness
Sterling Silver Seder Plate
Limited Edition: 31/100
1994
Signed, numbered and dated around the edge: Tom Otterness |1994 | 31/100 | MSS | STERLING SILVER
Marked on the bottom: Artes Magnus
The Seder plate is in overall in excellent original condition, with some minor scuffs.
Dimensions:
Diameter of plate: 18 inches (45.72cm)
Widest point of including figures of four sons: 19.5 inches (49.53cm)
Height of plate: 2 inches (5cm)
Height including figures of four sons: 2.5 inches (6.35cm)
Weight: 75.55ozt (2350g)
A large sterling silver Seder plate with concave gilt pockets. The plate features repousse, elevated figures in Tom Otterness’ quintessential style. The figures demonstrate traditional narratives from the Passover Hagaddah in a contemporary fashion, including the ten plaques, and the ‘four sons’ who can be seen in three-dimensions, ‘supporting’ the plate and lifting it from the ground. The plate is an edition of one hundred.
TOM OTTERNESS (American, b. 1952)
Since the 1970s, Tom Otterness has been populating public spaces with his impish human and animal sculptures, through which he gently lampoons American society. Disarmingly cute and cartoonish, and underpinned by art history, popular culture, and a democratic vision, his characters mock societal groups. “The artwork itself has five character types: blue collar workers, white collar workers, cops, […] radicals, […] and […] rich people,” he says. “And I take those five classes and […] make scenarios out of them.” Otterness uses the “lost wax” process to cast his bronze figures, which range from monumental to palm-sized. He explores class, money, race, and sex in his works, putting these fraught topics into the public sphere to spark conversation.
SOLD
Vintage Italian
Buccellati
A Pair of Sparrows
Sterling Silver Sculptures
ca. 1960s
Signed on the plinth “Buccellati, 925, Italy”
SPARROW 1
Dimensions: Height: 1.75 inches (4.37cm) Width: 1.25 inches (3.12cm) Depth: 2.13 inches (5.32cm)
SPARROW 2
Dimensions: Height: 1.75 inches (4.37cm) Width: 1.25 inches (3.12cm) Depth: 1.88 inches (4.7cm)
Total weight: 1.76oz (50 g)
BUCCELLATI
The long-established family firm is synonymous with tradition, creativity and skill. Buccellati’s craftsmanship resolves around intricate textural details in the highest quality materials, derived from inspirations such as Venetian lace, Etruscan patterns, Italian vegetation, insects and animals. The Italian founder Mario Buccellati (1891-1965), nicknamed the Prince of Goldsmiths, was fascinated from a very young age by all types of metals, gemstones and the Renaissance period. The extraordinary combination of these three inspirations led to his own distinct style, allowing the brand to become a highly recognizable jeweller and goldsmith in Italy. The first Buccellati store was established in 1919, located in Milan on Via degli Orefici, and in 1951, Buccellati expanded internationally by opening a store in New York. In 1966, Gianmaria Buccellati (1929-2015) with his brother, Luca, took over the family business after their father’s death. Gianmaria was in charge of the workshops and the design, while Luca developed the business in the United States. In the 1970’s, the brand continued developing the business around the world and in 1979 was the first Italian maker to launch a boutique in place Vendôme, a prime location for leaders in the Jewellery world. Gianmaria’s son, Andrea Buccellati, joined the family business in 2011 and is now head of the family business. He continues to implement the traditions put in place by his ancestors and proudly allows the brand to remain true to its design roots.
sold
Dimensions: Height: 7.5 inches Diameter: 13.5 inches
A very elegant and sophisticated 999° silver centerpiece/bowl decorated with three birds by perimeter, was made by high-end jewelry designer and silversmith, Luis Felipe Perez. The unique shape of the ball, flattened to the poles and resting on three legs, makes this piece truly original and outstanding.
sold
Gebruder Dingeldein Silversmiths
Venetian Baroque-Style (17th Century)
Silver Vase
Hanau, Germany, 19th Century
Dimensions:
Height: 11 inches Max. Diameter: 7-7/16 inches Weight - 27.34oz (775g)
Gebruder Dingeldein (Dingeldein Brothers), Hanau firm was founded in 1868 by brothers Friedrich Otto (ca. 1838-1901) and Freidrich Wilhelm (ca. 1838-1910) Dingeldein. Friedrich Otto's son August Ernst Dingeldein (1874-1962) was their successor, and married Margarethe Kurz (1876-1947), the daughter of Karl Kurz (1851-1936), which is how the Dingeldein and Kurz companies came to be merged in 1911. He did open a New York showroom assisted by his sons Karl August (1901-1965) and Otto Friedrich (1906-1991) Dingeldein, both of whom moved to America permanently in 1927, where they became prominent silversmiths in New Orleans, Louisiana and Cape Girardeau, Missouri, respectively.
HANAU SILVER: From the middle to the end of the nineteenth century copies of old silver, and items designed in an amalgamation of historic styles, satisfied customer demand and preference. Many firms in Europe and in the United States produced this type of silver. Generally speaking, the recognition of reproduction silver does not present a problem since it is marked according to the laws of the country of origin. Contrary to this, the antique silver industry of Hanau chose to mark its output with fantasy marks. It is difficult to say if this was practiced with a clear intent to deceive. But it is strange that the spurious marks somewhat resemble old marks, and are also harmonized with the style of the piece. For example, French rococo style reproductions are marked with French looking marks, German seventeenth century-inspired pieces got German-looking marks, and so on. Furthermore, most Hanau firms chose as company marks styles reminiscent of seventeenth and eighteenth century maker's marks.Mark stamping as practiced in Hanau would have been completely illegal in France or England, or for that matter in any other German city where a guild supervised the marking. But Hanau had a long tradition as a free-trade city.
With the production of "antique silver", Hanau found a market niche, which brought its silver manufacturers enormous prosperity and worldwide reputation.
sold
Ignaty Sazikov
after E. Lanceray
Troika
Imperial Russian Silver sculpture
Moscow, ca. 1875
This exquisite sculpture masterfully captures the essence of rural life, featuring an elderly peasant standing proudly, reins held firmly in his hands. Behind him, nestled in a beautifully crafted sleigh, are his son and grandson, with the latter energetically guiding the horses using a whip. Each figure is adorned in traditional peasant attire, which not only adds authenticity but also reflects their connection to the land and their heritage. Their faces are wonderfully expressive, conveying a sense of pride, determination, and the bond of family.
The craftsmanship of this outstanding silver sculpture, along with its original marble base, showcases an extraordinary level of artistry. The intricate details are so skillfully rendered that one can almost visualize the steam rising from the horses' nostrils in the crisp, frosty air. The air seems to vibrate with the sound of the horses’ hooves crunching through the fresh snow, creating a vivid auditory backdrop to the scene.
As the troika gallops at full speed, it leaves behind distinct impressions of horseshoes on the pristine snow, marking their journey through the wintry landscape. This dynamic movement not only brings the sculpture to life but also invites viewers to imagine the story behind this moment—an intimate glimpse into the daily life and enduring spirit of a hardworking family united by tradition and the rhythms of nature.
Dimensions:
Max. Height: 7.1 inches (17.75 cm)
Height of sculpture: 5.75 inches (14.4 cm)
Length of sculpture: 10.5 inches (26.25 cm)
Width of sculpture: 7.66 inches (19 cm)
Height of base: 1.33 inches (3.4 cm)
Length of base: 10.5 inches (26.25 cm)
Width of base: 6.25 inches (15.6 cm)
Markings:
Fully hallmarked with maker's marks «ИС» (IS for Ignaty Sazikov), «Сазиковъ» (Sazikov) beneath Imperial warrant, 84 silver standard, and Moscow town crest (circa 1850’s, Postnikova-Loseva #2013)
Materials:
84-standard silver (sculpture), Makarov white Ural marble (base).
Technique:
Casting, embossing, engraving, incusing.
Provenance:
Sotheby’s New York, 1992
Private collection, New York City
IGNATY SAZIKOV (1793 - 1868) (in Russian: Игнатий Сазиков) is undoubtedly one of the most important Russian silversmiths and jewelers of all times. Ignaty Sazikov, the Sazikov firm founder's son, was the dynasty's most renowned member, and his talent earned him the unofficial title of Russia's Benvenuto Cellini. Born in Moscow province in 1793, he moved with his family to Moscow where he was apprenticed to his father. At his father’s death in 1830, he inherited his workshop and opened a factory in St. Petersburg and a professional school for eighty goldsmiths and silversmiths. In 1846, the firm received the Imperial Warrant by Tsar Nicholas I, becoming official supplier of the Tsar. The firm produced mainly objects of vertu and exclusive tableware in Neo-Russian style; sculptural and figurative pieces, representing historical themes or genre scenes, as well as icon rizas, and even icon screens for churches. The articles differed in artistic value and prices, ranging from the most ordinary to exclusive ones intended for the royal court and for trade fairs. Sazikov contracted the most prominent Russian artists and sculptors of his time to work on his orders. The firm has also exhibited in several World Fairs - at the Great Exhibition in London in 1851, Ignaty Sazikov received gold medal; and in 1867, he was awarded with the legion d’Honneur at the Exposition Universelle in Paris. One of his most important pieces that won him the golden awards is a desk-size sculpture, representing a trio of horses, created by the great Eugene Lanceray, a famous Russian painter and sculptor. After Ignaty Sazikov death his two sons, Pavel and Sergei took over the business and have managed it until 1887, when the company was sold to the firm of Khlebnikov.
SAZIKOV’S TROIKA: THE EXHIBITION
In his Decree dated December 11 (22), 1719, Peter the Great set up a state form of storing valuables, which belonged to Russia. According to this Decree, special department, Kammer Collegium, was founded. Its regulations listed the existing valuables and stated the procedure of their storage in the State Treasury, called GOHRAN nowadays. A unique exhibition organized and curated by GOHRAN took place In Moscow in winter of 2014, "The Great Masters of the 19th Century. The Sazikov Jewelry House and its Contemporaries". Today, the work of the Sazikov jewelry house is in the collections of the largest museums in the world - the Moscow Kremlin, the State Hermitage Museum, the Victoria and Albert Museum in London, as well as in private collections. However, a special place is occupied by Sazikov’s collection of the Gokhran of Russia. The collection demonstrates the highest level of the masters of the company, their contribution to the development of small sculptures and ornamental art.
SAZIKOV’S TROIKA: THE COMMEMORATIVE COIN
In 2016, in honor of the Sazikov jewelry company, the Bank of Russia has issued a “Jewelry Art in Russia” commemorative coin, made of 925 silver of a total weight of 169 grams. Featuring on the obverse the famous Troika sculpture by Ignaty Sazikov, the coin was minted at the St. Petersburg Mint and amounted to 850 copies.
SAZIKOV’S TROIKA: THE COMMEMORATIVE MEDAL
In 2017, Goznak (a Russian joint-stock company responsible for rsearch and development as well as manufacturing security products including banknotes, coins, stamps, identity cards, secure documents, state orders and medal ) has eleased a series of 7 table medals dedicated to illustrious Russian jewelers. One of the medals is dedicated to Ignaty Sazikov. The obverse of the medal depicts the famous sculptural composition "Troika", created by the House of Sazikov after the design and model of no-less famous artist and sculptor, Eugene A. Lansere.
SAZIKOV’S TROIKA: THE POSTAL STAMP
In 2018, the Russian Post issued a jubilee postage stamp with a face value of 27 Rubles with an image of Sazikov’s most popular sculpture, created by him in bronze and silver for 10 consecutive years (!), from 1870 to 1880.
PRICE UPON REQUEST
Mario Buccellati
Vintage Italian Silver Sculpture
Squirrel with Pinecone
Ca. 1970’s
HALLMARKS: Signed "Buccellati", “Italy” on the underside.
MATERIALS: Silver.
DIMENSIONS: Height: 3-1/8” (9.1cm) | Width: 3-1/4” (8.1cm) | Depth: 6-1/4” (15.62cm)
WEIGHT: 4.93oz (140g)
CONDITION: Good vintage condition, wear consistent with age and use.
The SCULPTURE. This rare and exquisite vintage Buccelllati silver coffee-table sculpture of a squirrel holding a pinecone, created in the unique silver wirework technique of a superior quality workmanship, is indeed a true collector’s item.
The MAKER. In 1978, The House of Buccellati introduces the furry and feathered animal collection - a series of lifelike animals produced with a technique created by Buccellati. The laborious process of attaching each hair, one by one, has often been imitated by others but never quite duplicated. These exquisite animals are a perfect example of Buccellati’s highest-level mastery of silversmithing.
sold
American Greek Revival
Gorham Manufacturing Co.
Centerpiece
Ca. 1880
HALLMARKS: Stamped with Anchor silver standard, GORHAM MFG CO., SILVER SOLDERED 30IN., and Model No. 011.
MATERIALS: Silver-plate, silver soldered.
DIMENSIONS: Height - 5.75” (14.4cm) | Length: 32” (80cm) | Width: 13.5” (33.75cm)
CONDITION: Good antique condition, wear consistent with age and use.
The Centerpiece. This grand in scale magnificent elongated oval Greek Revival silver-plated and silver-soldered gorgeous centerpiece/serving dish, designed in common typical ancient Greek style of the 5th-4th century BC was made by Gorham Manufacturing Co., in Providence, ca 1880. It is indeed a terrific piece reflective of the mid-19th century American Grecian vogue, embellished with the classical Greek tracery around the perimeter, two mythical female heads as side supports; and a pair of ram heads, as handles. The Ram has played an important role in the religion and mythology of many different cultures. It first appears as symbol in Ancient Egypt, as god Amon depicted with a ram's head. In Celtic symbolism, it represents fertility and rebirth. The ram's horns are the symbol of the zodiac sign of Aries and even the Greek name of this sign (krios=ram) indicates the correlation between the zodiac sign and the ram. In Greek Mythology, the Golden Fleece ram, a ram with wings helps Phrixus escape from his father and stepmother and the sacrifice they had planned for him. The same ram is the object of Jason's quest during the Argonautic expedition.
GORHAM Manifacturing Company was founded in Providence, Rhode Island, 1831 by Jabez Gorham, a master artisan, in partnership with Henry L. Webster. The firm's chief product was spoons of coin silver. The company also made thimbles, combs, jewelry, and other small items. In 1842, the Congress enacted a tariff, which effectively blocked the importation of silverware from outside the United States, which aided the American silver industry. Jabez Gorham did not take full advantage of this opportunity, but in 1847 he retired and his son, John Gorham succeeded him as head of the company.
John Gorham introduced mechanized production methods, enlarged the premises in downtown Providence, improved the designs, and expanded the product line. In 1852, Gorham toured many of Europe's silver workshops and manufacturers, speaking with individual specialists, including master artisans and toolmakers. He sought highly skilled foreign workers to train his American workers and hired George Wilkinson, a premier designer and workshop manager, from England. In 1865, the Rhode Island legislature granted a charter in the name of Gorham Manufacturing Company and in 1890, the company relocated to a factory on Adelaide Avenue in Providence.
During the heyday of American silver manufacturing, approximately 1850 - 1940, Gorham was highly influential. William Christmas Codman, one of Gorham's most noted designers, created the Chantilly design in 1895, which has become the most famous of Gorham's flatware patterns. The company has produced matching hollowware in both sterling and silver-plate.
SOLD
Mezuzah
Hand-Made ~ Israel, ca. 1970’s
MATERIAL: Silver.
DIMENSIONS: Height: 7” (17.5cm) | Width: 6’ (15cm) | Depth: 1” (2.5cm) | Weight: 4.2oz (119g)
CONDITION: Good vintage condition, wear consistent with age and use.
Probably, made by a private order (unmarked) in Israel in the 1970’s, besides exceptionally fine silversmith’s artisanship, the main feature of this vintage hand-made sterling silver mezuzah is its absolutely unique and flawless composition. Just a quick glance is enough to instantaneously and accurately recognize the ancient city of Jerusalem.
SOLD
Irish Silver
Teapot
Ca. 1900’s
MATERIALS: Silver.
DIMENSIONS: Height: 11-1/4” (28.1cm) | Width: 10” (25cm) | Diameter: 6-1/2 (16.25cm)
WEIGHT: 32.2oz (912.85g)
CONDITION: Good antique condition, wear consistent with age and use.
This exceptionally designed teapot is decorated with endlessly repeating Celtic Tracery; with a finely engraved noble family crest consisting of the jagged ancient Irish royal crown, topped with the head of a young Red deer (Lat.: Cervus elaphus), in the front. Signed and numbered illegibly.
sold
William L. deMatteo
Mid-Century Modern
Sterling Silver Coffee Kettle
ca. 1950s
Dimensions: Height: 10.75 inches Width: 3-1/2 inches Depth: 5.25 inches
Weight: 27.4 troy oz
This elegant and unusual Sterling Silver & Wood Coffee & Tea Kettle, made by the famous New York master William Lawrence deMatteo, very delicately decorated with the sprouts of young peas. Although at first glance, this object casts thoughts about Art Deco, the unusualness of organic decorative elements in combination with the traditional form certainly speaks of its explicit Mid-Century Modern design.
William Lawrence deMatteo (American, 12 October 1923 - 14 May 1988), silversmith and master craftsman, was born in New York City and was the son of Elizabeth Rommelman deMatteo and William Gaitano [Gaetano] deMatteo, an accomplished silversmith who immigrated to the United States from Acciaroli, Salerno, Italy, with his family when he was a boy. William Lawrence deMatteo grew up in suburban Bergenfield, New Jersey, and attended schools in nearby Tenafly, all the while observing and absorbing his father's skillful work. DeMatteo began studying sculpture and fine arts at Columbia University in 1941, but after the United States entered World War II he joined the navy in November 1942 and served in the Pacific theater as a torpedo bomber pilot. On 14 November 1946, in Asbury Park, he married Jayne Walpole, a painter who later co-founded an art gallery. They had three daughters and one son. DeMatteo resumed his apprenticeship with his father and may have continued his studies at Columbia before being recalled to active duty with the navy during the Korean War. He was discharged in 1953.
Bill deMatteo, as he was usually known, visited the restored capital of colonial Virginia while he was still in the service and asked to see the silversmith's shop. Told that Colonial Williamsburg had none, he saw an opportunity for himself. Soon after deMatteo left the navy, he returned to Williamsburg and in July 1953 joined the staff as a silversmith. He created the entire silversmith program and was responsible for the James Geddy Silversmith's Shop, where he trained shopkeepers in interpreting craftsmanship to visitors, instructed and supervised apprentices in all kinds of metalworking, and handcrafted reproductions of eighteenth-century silver items for sale in the shop. DeMatteo also revived colonial silversmith James Craig's Williamsburg shop, "At the Sign of the Golden Ball." In January 1963 deMatteo was promoted to Staff Master Craftsman and Master Silversmith.
In accord with Colonial Williamsburg's motto - that the future may learn from the past - deMatteo spent much of his time in educational and advertising efforts. Working from a research report that Colonial Williamsburg staff member Thomas K. Bullock had prepared, in 1956 deMatteo published The Silversmith in Eighteenth-Century Williamsburg - An Account of his Life & Times, & of his Craft, a short history of silversmithing and techniques used in colonial days. DeMatteo also provided much of the information for a 1971 video program, Silversmith of Williamsburg, and the accompanying manual. In the film he demonstrated every stage of making an eighteenth-century silver coffeepot, beginning with receiving silver coins or scraps to be melted, discussing details of the commission with a customer, methods and design, and shaping the piece with his hammer and burnishing the completed coffeepot. In 1971 and 1972, deMatteo studied design, silversmithing, and methods at Sir John Cass Department of Art of the City London Polytechnic, and with professional London silversmiths; in 1975 he became the first American craftsman to be elected an honorary foreign associate of the Worshipful Company of Goldsmiths, in London.
As his skill became apparent to staff and visitors, deMatteo received many requests to design and craft commemorative gifts. A town-crier's bell that he made for Colonial Williamsburg to present to Sir Winston Churchill in 1955 appeared in a picture of Churchill on the cover of Life magazine the following year. DeMatteo designed presentation pieces for the White House Correspondents' Association annual presentations to Presidents John F. Kennedy, Lyndon B. Johnson, Richard M. Nixon, Gerald R. Ford, and Jimmy Carter. He designed numerous handcrafted gifts for visiting presidents, queens, kings, and prime ministers, and the Department of State commissioned deMatteo to craft silver trays for presentation to Egyptian president Anwar Sadat and Israeli prime minister Menachem Begin at the Camp David Accords in 1978.
For a commission from the American Telephone and Telegraph Company in 1976 in recognition of the centennial of Alexander Graham Bell's invention of the telephone, deMatteo produced an abstract silver piece, a departure from his colonial-style masterpieces, inscribed with Bell's first words transmitted over his telephone. Despite his finesse, he was a modest man who insisted that he was a craftsman, not an artist. DeMatteo was content to make beautiful utilitarian objects that he believed did not rise to the level of imagination and execution required of an artist. His devotion to excellence was acknowledged by the American Institute of Architects, which in 1960 gave him its craftsmanship medal for high achievement in industrial arts.
After twenty-six years with Colonial Williamsburg, in 1979 deMatteo left and moved with his family to Alexandria. Together with his son, Chip deMatteo, and Philip Thorp, a colleague at Colonial Williamsburg, he opened Hand & Hammer Silversmiths. DeMatteo continued to explore and extend his range beyond eighteenth-century forms. He was an affable man, noted for his disarming smile. He was an intense perfectionist who was deaf to his surroundings while sitting at his bench shaping precious metals with his hammer. He was also a resourceful artisan who was known to make his own hammers when he failed to find suitable ones in the market. DeMatteo once remarked that "being a silversmith is just a delightful, lovely way to go through life" and that while he was not fully satisfied with his silver work he was "very satisfied with the life I lead." William Lawrence deMatteo died of leukemia at an Alexandria hospital on 14 May 1988. His son, who continued to work at the Hand & Hammer Silversmiths, preserved his ashes.
$1,500
Jean Puiforcat
Solid Sterling Silver Double-Handled Serving Tray
Circa 1900
Dimensions: Length without handles: 2- inches Length with handles; 24 inches Width: 15 inches
Weight: 94oz
The House of Puiforcat story.
This family cutler, founded in Paris in 1820 by Emile Puiforcat and his two cousins, owes most of its renown to Jean Puiforcat, from the fourth generation of the family, who was to write the most beautiful pages of its history almost a century later, and would establish the company in the avant-garde of modern silver work. Driven by his father, Louis-Victor Puiforcat, the company began evolving towards the high-end of the silversmith’s trade in the late nineteenth century, recreating eighteenth-century masterpieces from his collection that are now exhibited at the louvre museum in Paris. His son Jean was named a master silversmith in 1920.
Immersed in the wave of artistic change that characterized the period between the wars, he was one of the founders of the Union des artistes modernes in 1929, and was a friend of René Herbst, le Corbusier, Charlotte Perriand and Pierre Chareau. He was passionate about sculpture and invented a evolutionary formal language that advocated adapting form to suit function.
His unfussy style – characterized by pure, architectural lines, notable simplicity and the marriage of solid silver with other precious materials such as exotic woods, semi-precious stones and shagreen – is inspired by Art Déco and was the founding stone for contemporary high-end silverwork. His work is regularly revived and still exudes the same spirit we see in contemporary in-house collections.
Puiforcat came under the wing of the Hermès group in 1993 and, sustained by an exceptional know-how, it now works on re-launching its most beautiful heritage pieces as well as devising tomorrow’s classics with the help of present-day designers. The solid steel cutlery set Zermatt, designed by Patrick Jouin and launched in 2010, has already been included in the permanent collections of the Museum at the Pompidou Centre in Paris and the Museum of Arts and Design in New York. Over and above the art of tableware, the house of Puiforcat intends to continue using its almost two-hundred-year-old expertise to serve a complete “silversmith’s art of living” particularly with respect to the art of taste and of decoration. The champagne beaker, a unique tasting tool created in 1999, and the range of kit-chen knives conceived with Pierre Gagnaire in 2011, illustrate this commitment.
19th century:
1820: The family cutlery shop was founded by Émile Puiforcat and his two cousins, on rue Chapon, in the Marais neighborhood of Paris.
1857: Emile Puiforcat, partnering with his cousin Jean-Baptiste Fuchs, registered the hallmark of the company: diamond-shaped with, in its center, a pocket knife in profile, flanked on each side with the initials E and P.
20th century:
1902: After his marriage with Laure Puiforcat, the founder's granddaughter, Louis-Victor Tabouret took the helm of the company and his wife's patronym. His collection of solid silver masterpieces were reproduced in the company's workshops, and reissued. The house of Puiforcat developed the highest standards of craftsmanship and became a reference in the world of haute orfèvrerie.
1920: Jean Puiforcat, Louis-Victor and Laure's son, was awarded the title of Master Silversmith at the age of twenty-three. He brought the house to the vanguard of contemporary silversmithing. Often reissued, his masterpieces continue to inspire creation and innovation in the company's contemporary collections.
1925: After being a standout on his first appearance in the Salon des Artistes Décorateurs in 1921, Jean Puiforcat imposed his talent at the International Exposition of Decorative Arts in Paris
1930: Jean Puiforcat was one of the founding members of the French Union of modern Artists (Union des Artistes modernes or UAM), alongside the likes of René Herbst, Le Corbusier, Robert Mallet-Stevens and Charlotte Perriand. These architects, designers, interior decorators shared a common sense of abstraction, a taste for constant innovation, and exacting standards of execution.
1936: The Puiforcat store and workshops relocated to 136, boulevard Haussmann, in the 8th arrondissement of Paris. Architect René Herbst, a friend of Jean Puiforcat, designed new display areas devoid of any ornamentation, shifting the focus to the pieces on view.
1940: Jean Puiforcat sailed to Mexico. In 1945, during a short stay in France, he died suddenly. His father continued to run the company for another ten years.
1955: When Louis-Victor Puiforcat disappeared, Stavros S. Niarchos, the shipping magnate, purchased a large selection of the Puiforcat classic silver collection, and donated it to the Louvre museum, where it can be admired in the department of Objets d'Art.
1980: Under the influence of Éliane Scali, the company's new owner at the time, Puiforcat expanded its activities, introducing new materials like silverplate.
1988: The Puiforcat store relocated to avenue Matignon, at the corner of Avenue Gabriel (in the 8th arrondissement), in a modern décor.
1993: Puiforcat joined the Hermes group. "As a child, I had the oportunity to visit the house of Puiforcat, said Jean-Louis Dumas, who presided over the acquisition. I kept marvelous memories of this visit, and when the opportunity presented itself to expand the Hermes family of crafts, I had no hesitation". The workshops were relocated to Pantin in 2000.
sold
German Art Deco
Lazarus Posen Witwe
A Pair of Silver Serving Dishes
Ca. 1910
Dimensions: Height: 3-3/4 inches Diameter: 8-1/8 inches Weight: 15-1/2 oz
Fully hallmarked, 800° Silver
Lazarus Posen Witwe was unique among 19th- and 20th-century German silver manufactories in that its owner and principal director was a Jewish woman.The firm was founded in Frankfurt am Main in 1869 by Brendina Wetzlar, the widow of Lazarus Jacob Posen, a silversmith and retailer of Polish descent. It is not clear when Posen himself died, but clearly, it was before 1869. Under the Posen widow’s stewardship, the firm became the largest supplier of Judaica in the late 19th century. Her son Jacob L. Posen joined the firm by 1880, and by 1900, the company’s large staff of chasers and engravers were producing some of the finest silver in the country. They received a royal warrant in 1903 and opened a second shop in Berlin. The firm followed all the latest continental trends incorporating both Danish and Austrian styles into their output. In the 20th century the firm was under the direction of Brendina’s grandsons Jakob, Hermann and Moritz Posen. The exact date of the company’s closure is not known, but it seems certain that the wealthy Jewish-owned firm was a victim of the terrors of the Nazi regime. Articles by Posen Witwe are held today in both, Frankfurt Historical Museum and Frankfurt Jewish Museum.”
SOLD
rare Soviet Mid-Century Modern
Set of Eight Coffee Cups & Saucers
Silver 916° & Enamel
USSR, 1960s
Fully hallmarked, this elegant Mid-Century Modern set of eight coffee cups with saucers of unusual shape was made in the USSR in the 1960s out of 916° silver and decorated with a minimalistic geometric pattern of multi-colored enamel. In perfect condition, never been used, like brand-new.
CUP: Height – 1” Diameter – 3.25” Weight: 2.2oz (62.6g)
SAUCER: Height – 0.33” Diameter – 4.88” Weight: 3.31oz (93.8g)
TOTAL WEIGHT OF SILVER: 44.08oz (1,251.2g)
sold
Dutch Arts & Crafts
Silver Plated
Water Pitcher
1900s
Probably Dutch. Lavishly designed in the style of Arts & Crafts / Art Nouveau, this outstanding hand-made, hammered silver-plated water pitcher was obviously crafted by a highly skilled silversmith. The hallmark on the bottom looks like a mill, surrounded by two smoking pipes on both sides facing opposite directions. There is also a (model) number - 3030.
Excellent original condition with no dents, scratches or monograms. All the details are clear, with no removals, repairs or alterations. The pitcher has the soft, warm, original finish, with no buffing or machine polishing.
Dimensions:
Height: 8 1/4 inches Width: 9 1/2 inches Depth: 6 inches
The Arts and Crafts Movement
The Arts and Crafts movement emerged during the late Victorian period in England, the most industrialized country in the world at that time. Anxieties about industrial life fueled a positive revaluation of handcraftsmanship and pre-capitalist forms of culture and society. Arts and Crafts designers sought to improve standards of decorative design, believed to be debased by mechanization; and to create environments, in which beautiful and fine workmanship governed.
The Arts and Crafts movement did not promote a particular style, but it did advocate reform as part of its philosophy and instigated a critique of industrial labor; as modern machines replaced workers, Arts and Crafts proponents called for an end to the division of labor and advanced the designer as artisan.
sold
Antique
German Neo-Baroque
Silver Wine Jug
XIX Century
WEIGHT & DIMENSIONS
Weight: 38.5 troy oz Height: 14.25 in Max. Diameter: 6.25 in Base diameter: 4.25 in
ABOUT
This amazing silver wine jug in perfect German Baroque style of the 17th Century was actually finely crafted in the repoussé and chasing techniques at the end of 19th Century. A half-erased hallmark is illegibly visible on the base of the jug. However, the master is not identified. Also, as it is typical for some custom-made silver items from the 18th and 19th centuries in Germany; in the bottom part of this silver jug is mounted a thin round copper plate with an enamel image of either a complete coat of arms, or part of a heraldic system (five parallel horizontal lines and eight circles in gold on the 'burned-red' field) – perhaps, of a small German principality, the owner’s, or of the master maker himself. The mouth of the jug, fitted with hinged lid made in the shape of the head of an ancient knight in a helmet with a raised visor. The elegant long neck decorated with two medallions with profile portrait images of a knight in helmet and, in all likelihood, the lady of his heart. The spherical part of the jug decorated with allegorical images from ancient German legends in the form of snakelike monsters with human heads. The beautiful, forked at the top end handle of the jug embellished with bay leaves, a symbol of victory.
$3,500
English Edwardian
Sterling Silver, Enamel & Gilt Snuffbox
1900s
Dimensions: H – 1/1/16” L – 3 1/2” D – 1.3/4”
This most unusually designed Edwardian era snuffbox of elongated oval-cylindrical form is beautifully handcrafted of sterling silver, multicolor guilloche enamel, with gilt interior.
Stamped STERLING SILVER.
Good antique condition consistent with age and use. There is no damage or repairs.
We make our best effort to provide a fair and descriptive condition report. Please examine the photos attentively. Send us a message to request more details or discuss price.
sold
Mikhail Krikheli Studio
Sterling Silver Enamel & Gilt
Snuffbox with Mushrooms
XXI Century
Dimensions: H – 7/8” W – 3 3/8” D – 2.3/4”
Hallmarked with “STERLING” and two Mikhail Krikheli private stamps.
Rare and unique, this sterling silver, enamel and gilt snuffbox, decorated with mushrooms was commissioned in a single copy by the known New York City art collector, antiquarian and gallerist, Mikhail Krikheli.
Excellent condition. There is no damage or repairs.
We make our best effort to provide a fair and descriptive condition report. Please examine the photos attentively. Send us a message to request more details or discuss price.
sold
American Art Deco
Tiffany & Co.
Sterling Silver Table Mirror
1920s
Marked on edge: Tiffany & Co. 17395 MAKERS 8739 STERLING SILVER 925-1000 YYY
Monogramed: NWS
Diameter: 17 inches.
$4,500
Maria Semenova
Enameled Silver and Hand-Cut Crystal Box
Moscow, Imperial Russia
Ca. 1910s
Signed with Cyrillic initials M.S. for Maria Semenova.
Assay mark of Moscow, 1908-1917.
Silver standard: 84 zolotnik.
Dimensions: 3 3/4" W x 2 3/8" D x 1 5/8" H
Maria Semenova (active 1896-1917) was an important Russian silversmith and enameller. Daughter of a well-known silversmith Vasili Semenov, Maria took over the family business after his death. Under her supervision, the firm became famous for its high-quality enamel objects.
sold
Mid-Century Modern
Tiffany & Co.
Sterling Silver
Set of Six Candy & Nut Dishes
Circa 1950s
The set consists of two serving dishes and four individual dishes, all with pierced handles. Excellent antique condition, consistent with age and use.
Serving dish dimensions: Length 6 inches Width 4.5 inches Height 0.75 inches
Individual dish dimensions: Length 6 inches Width 4.5 inches Height 0.75 inches.
Combined weight: 12.5 troy ounces.
sold
French Art Nouveau
Maison Odiot Paris
Rock Crystal and Gilt Silver Claret Jug
Circa 1900
Dimensions
H 12 in. x W 6 in. x D 6 in.
H 30.48 cm x W 15.24 cm x D 15.24 cm
Made in Paris by Maison Odiot circa 1900, this .950 silver-gilt mounted rock crystal claret jug is an extraordinary example of the unique skills of their artisans. What makes it extraordinary is the outstanding design and composition, where the rock crystal swirled cutting lines are smoothly becoming those of the stylized seaweed foliage scrolls on the silver mounting throughout the neck, mouth, and foot. The top of the lid decorated with a seashell.
sold
Cartier
Solid Sterling Silver
Oval Entrée Dish
Circa 1950’s
Strikingly elegant in its brevity and simplicity, this solid sterling silver oval entrée dish by Cartier, ca. 1950’s, is fully hallmarked and weighs 64oz.
Dimensions:
Length: 20” Width: 13” Height: 1.5”
Weigh: 64oz
Good condition, consistent with age and use.
We make our best effort to provide a fair and descriptive condition report. Please examine the photos attentively, as they are an integral part of the item description.
$5,500
Pavel Sazikov
Silver Box with Gilt Interior
St. Petersburg, Imperial Russia
Ca. 1856
This fine work of a silversmith art was made during the era of Pavel Sazikov, the original establisher of the firm, which makes it especially valuable and important for the collectors of the Russian Imperial silver objects and applied arts. The straight sided rectangular box minimalist design is striking, especially given the time of manufacture, and the perfect rendering. The most noteworthy element of this unique design is the pool on top of the lid, in the form of a simple ring on the loop. Another big surprise is that when the lid is removed, the interior of the box and the inside of the lid are richly gilded, powerfully contrasting with the simplicity of the overall design.
Dimensions:
Length: 2 15/16 inches (7.5cm) Width: 1 3/4 inches (4.5cm) Height: 1 1/2 Inches (3.75cm)
Weight:
5 troy ounces (142.1 grams)
Markings:
84° Russian Silver Standard: The Russian silver standard is based on the zolotnik, a word derived from the
Slavonic word for gold. The zolotnik was originally a gold coin circulating in Kievan Rus in the late 11th century,
And was originally pegged to 1/96th of a Russian pound, which was later changed to 1/72nd of a Russian pound.
One zolotnik is equal to 4,266 grams.
City hallmark of St. Petersburg: Two crossed anchors and a scepter.
Master's hallmark: In Cyrillic: "PS" (ПС) for Paved Sazikov (Павел Сазиков)
Assay master mark: In Cyrillic: "EB" (ЭБ) for Eduard Fyodorovich Brandenburg (Эдуард Федорович Бранденбург), and dated: 1856.
.Pavel Sazikov (1793-1877)
A contemporary of Carl Fabergé, Pavel Sazikov is a highly important and respected 19th century Russian silversmith. The firm of Sazikov was founded as a workshop in Moscow by Pavel Sazikov in 1793. Though it remained family run, the business quickly expanded. After Pavel’s passing, his son Ignatti (1796-1868) succeeded him in running the business. Ignatti expanded the firm to Saint Petersburg in 1842. Around that time, Sazikov was appointed the title of court supplier, and the firm was given the right to incorporate the imperial double eagle into the Sazikov trademark.
After Ignatti’s passing in 1868, his three son continued to run the business in Saint Petersburg, until that branch was closed in 1877. The Moscow branch continued for another ten years before it was taken over by another firm.
SOLD
Enameled & Gilt Silver
Snuffbox with Hunting SCENES Miniatures
India, 19th Century
Dimensions:
Height: 1 1/16 inches Width: 2 3/8 inches Depth: 2 inches
Weight: 3 ounces
This amazingly beautiful precious 19th century bauble from India is an octagonal silver casket, completely covered with hand-painted ornamental and miniature multicolored enamels and features a gilded interior. Fitting one’s hand very comfortably, it was intended, in all probability, to serve as a snuffbox.
The top hinged cover of the snuffbox is decorated with symmetric floral ornament and medallions. The lateral surface along the entire perimeter is filled with very thinly executed four miniatures with scenes of hunting and animals, alternating with four floral ornamental miniatures. The most interesting are, of course, miniatures with hunting, scenes which alternately depict a lion torturing a bleeding bull, a horse, a tiger bent over a deer and a hunted down buffalo.
As the silver hallmarks were not found, therefore, judging by the fineness of the jeweler, painter and engraver workmanship, one can assume with a high degree of certainty that this box was made on special order – probably, as a gift to a wealthy man.
Since the state of the snuffbox is almost perfect and two engraved vignettes (one on the inside of the lid for the owner's initials, and the other on the bottom of the box for the inscription) are unfilled, one can assume with even greater confidence that this gift was never given.
sold
FOR Amadeo I, King of Spain
A Pair of Heraldic Wall Sconces
XIX CENTURY
Dimensions:
Height: 11 inches Width: 10 inches Weight: 977.5g (each)
Unique - for the true lovers of real rarities! It is our pleasure to present to you this amazing pair of XIX century hand-hammered silver double-armed candle wall sconces in the Spanish Baroque style. The back plates are beautifully adorned with the Spanish royal crown and personal monogram of Amadeo I, the King of Spain. The heraldic composition is completed by the sculptures of angels, holding a laurel wreath in each hand, a symbol of royal power and victory. Probably, made by a special order, the sconces are unmarked but tested for silver. The original wooden bases of the back plates, intended to be mounted on the wall are preserved in a good condition on both candelabras, with all of the original copper studs that the silver parts are nailed to them. Very good antique condition, although there is a common minor wear consistent with age and use. Please refer to photographs attentively, as they are part of the description, as well. Is it possible that these silver sconces at one time had decorated the walls in the King's apartments ?
Amadeo I, the King of Spain (1870-1873)
Amadeo I (Italian Amedeo, sometimes anglicized as Amadeus) (30 May 1845 – 18 January 1890) was the only King of Spain from the House of Savoy. He was the second son of King Vittorio Emanuele II of Italy and was known for most of his life as the Duke of Aosta, but reigned briefly as King of Spain from 1870 to 1873. He was elected by the Cortes as Spain's monarch in 1870, following the deposition of Isabella II, and sworn in the following year. Amadeo's reign was fraught with growing republicanism, Carlist rebellions in the north, and the Cuban independence movement. He abdicated and returned to Italy in 1873, and the First Spanish Republic was declared as a result. Granted the hereditary title Duke of Aosta in the year of his birth, he founded the Aosta branch of Italy's royal House of Savoy, which is junior in agnatic descent to the branch descended from King Umberto I that reigned in Italy until 1946, but senior to the branch of the Dukes of Genoa.
The Spanish Royal Crown
The Spanish Royal Crown, known as Crown of Alfonso XII, is the symbol of the Spanish Monarchy and has been used in proclamation ceremonies since the 18th century. The current Spanish Royal Crown is the crown of the ruling Bourbon Dynasty. The Spanish branch of the House of Bourbon was founded by Philip V of Spain, Duke of Anjou, who was born in 1683 in Versailles. He was the second son of the Grand Dauphin, son of Louis XIV. The last time the crown was shown at a public ceremony was in the Cortes Generales during the swearing-in of King Felipe VI on 19 June 2014 after the abdication of his father, King Juan Carlos I. Since July 2014, the Crown and scepter are on permanent public display for the first time ever in the so-called Crown Room at the Royal Palace of Madrid.
sold
Val Stern
nude
Solid Silver Sculptural Paperweight
MATERIALS:
Solid sterling silver
DIMENSIONS:
Height: 1 1/4 inches Length: 4 1/2 inches Width: 2 inches Weight: 15oz (426.4g)
PRICE:
$8,700
French Art Nouveau
- Perfume Bottle ~
Body Lotion or Bath Salt Jar
Ca. 1900
Dimensions:
Height: 5 1/2 inches Max. width: 3 1/2 inches Bottom diameter: 2 7/8 inches
This fine and unusual French antique perfume bottle of a superb quality and workmanship and can also function as a body lotion or bath salt jar/bottle. After over a hundred years, today this elegant object is ready to be used for the intended purposes, and would be an exquisitely tasteful decoration for a dressing table, dresser or vanity of the most demanding of the ladies. It is made of a very thick crystal and has a sterling silver hinged round lid. The crystal part of the bottle is masterfully etched and hand-engraved throughout its perimeter with the Irises pattern, a floral motif made one of the most popular during the Art Nouveau era. The top of the sterling silver hinged round lid is also decorated with a charming bouquet of the same flowers, rendered in the repose technique. Both, the neck and the top cover of the lid are stamped with a full set of French hallmarks, half-erased due to long-term use and therefore illegible. The repose bouquet of Irises on the cover is stamped additionally with an essayist' hallmark with artist initials "RD". This beautiful perfume bottle is in fine antique condition consistent with age, with minimal wear to crystal and silver parts, no cracks, no hairlines, no damages, no restorations.
$550
French Art Deco
Flower Vase
- Ca. 1925 -
Concise in form, this gorgeous French hand-cut crystal flower vase framed in sterling silver is an unusual design-crossover between Classism and High Art Deco styles. Will fit ideally into a modern interior space, as well. The vase is in perfect vintage condition - no chips, scratches, imperfections, restorations. Fully hallmarked.
Measurements:
Height: 10 1/4 inches Upper diameter:6 3/8 inches Mid- diameter: 8 3/4 inches Bottom diameter: 5 1/4 inches
sold
Italian Novecento
Alessandro Calderoni
Grand Two-Part Centerpiece
Ca. 1940
MARKINGS
Hallmarks: S.A. Calderoni, Milano, 800.
WEIGHT
Weight: 160.14 troy ounces (5 kg 794 g), including non-silver material.
DIMENSIONS
Overall height: 12inches
Bottom vessel dimensions: Length: 21 inches Depth: 18.5 inches Height: 7.5 inches
Top vessel dimensions: Length: 12 inches Depth: 9.5 inches Height: 9.7 inches
ABOUT
This magnificent formal centerpiece was created around 1940 in Milan, Italy by S.A. Calderoni, a famous Italian firm of fine jewelers and silversmiths that was established in 1898 and achieved its greatest fame during Italian Art Nouveau and Novecento periods. The company also manufactured items by special private orders and commissions, and was a supplier to the court of the last Italian King, Victor Emmanuel III.
The outstanding artistic design in the style of Novecento and its generous proportions combined with a remarkable handmade rendering make this magnificent centerpiece not simply a functional object but a true masterpiece of applied arts. This luxurious hand-hammered silver centerpiece consists of two parts: - The smaller footed bowl is raised on oval wood platform? resting on seated cast silver male figures. - The larger bowl is raised on flattened bun feet. - Both, the larger and smaller bowls have scrolled handles, lobed bodies and banded rim that ends in scrolls at the fluted seams.
$12,000
Silver Niello
Snuff Box
Netherlands, Ca. 1825
Presented here is an early 19th century Dutch silver snuff box (ca. 1825) of an oval form. The stand-away hinged oval cover is beautifully decorated with black niello enamel, depicting a tavern scene, with peasants dancing and having a great time. The interior of the box is gilded. The miniature on the cover is surrounded byan elegant design of leaves and vines. The sides and underside of the box are completely covered with fine geometric pattern in the niello technique..
MEASUREMENTS
Length: 3 3/8 Width: 2.5 inches Height: 1 inch Weight: 3.56oz (101g)
NIELLO
Niello is black metallic alloy of sulfur with silver, copper, or lead that is used to fill designs that have been engraved on the surface of a metal (usually silver) object. Niello is made by fusing together silver, copper, and lead and then mixing the molten alloy with sulfur. The resulting black-colored sulfides are powdered, and after the engraved metal, usually silver, has been moistened with a flux, some of the powder is spread on it and the metal strongly heated; the niello melts and runs into the engraved channels. The excess niello is then removed by scraping until the filled channels are clearly visible, and finally the surface is polished. The contrast of the black niello against the bright silver surface produces an attractive decorative effect.
SNUFF BOXES
Inhaling snuff, or snuffing, as it is also called, was first witnessed by a European in 1493, when Friar Ramón Pane, who had arrived in the new world courtesy of Christopher Columbus, was living as a missionary among Haiti’s indigenous Taino. Until then, tobacco had been unknown to Europeans, but the use of tobacco spread like a weed on the continent during the 1500s. By the second half of the 17th century, ornate boxes were being produced to keep the precious powder dry. At the beginning of the 18th century, French jewelers began making snuff boxes out of silve and gold set with diamonds, amethysts, and sapphires. By 1740, specialized artisans took over the production of these ornate tabatières, which they engraved, chased, and enameled. A close cousin of the tabatière was the tabatière à cage, whose sides, tops, and bottoms featured gold or metal frames holding panels of decorated ivory, agate, tortoiseshell, or porcelain. The shapes of these boxes was not limited to simple rectangles. Porcelain containers resembling trunks were common, as were ovals, but tabatières shaped like shells were more rare. And while materials were often enough for their decoration, sometimes these snuff boxes were hand painted, depicting everything from miniature landscapes and bucolic scenes to tiny portraits or grisaille cameos of their owners.
$1,300
Silver-Mounted Cut Crystal
Set of Wine Pitcher and 12 Glasses
Moscow, USSR
Ca. 1960
PITCHER MEASUREMENTS:
Height: 13 1/2 inches Width: 7 inches
GLASS MEASUREMENTS:
Height: 4 1/2 inches Top diameter: 2 1/4 inches Bottom diameter: 2 inches
Presented here is a wonderful cut crystal-and-silver set, consisting of a tall pitcher with the gold plated inner part of the neck and cover and twelve matching glasses with the silver rim featuring repeating acanthus leaf design.All silver parts of the set are hallmarked with a barrel shaped cartouche with the image of a sickle & hammer inside a 5-pointed star, followed by the number 875, and capital letter M in front of the star image is for Moscow assay inspection. Next to them, there is another stamped hallmark "3MO" (Mosremchas factory, Moscow). Judging by these hallmarks, this set was made in Moscow between 1960 and 1965.There is also an engraved inscription in Russian on the outer part of the pitcher's neck: "To Yakov Georgievich on his seventieth birthday from the guys, 1966"
$4,000
rare
German Tromp L'oeil
SILVER Brotherhood Wine Vessel
XIX Century
Dimensions:
Height: 6 5/8inches Max diameter: 2 7/8inches Min diameter: 2inches Weight: 8.1oz (229.3g)
Presented here is a rare 19th Century German "Bruderschaft" (Brotherhood) Wine Vessel in form of a wine barrel, consisting of two separate cups, connected by a chain with a lock. With gilded interior, this unique object is beautifully crafted in Tromp L'oeil technique, masterfully simulating natural pattern of wood and metal hoops. There is an inscription around one end that reads "Nur fur Wein soll dieses Fassgeschaffen sein" ("Only for wine these barrels are created"). On the other end, there is an undecipheredcrest, depicted as a furious lion on its hind legs, wearing a crown and roaring with his tongue out.
TROMPE-L'OEIL
Trompe-l'œil (French for "deceive the eye") is an art technique that uses realistic imagery to create the optical illusion that the depicted objects exist in three dimensions. Forced perspective is a comparable illusion in architecture.
$2,500
Austrian Art Nouveau
Gilded Silver and Enamel
Glass Holder
Ca. 1900
Presented here is a superb gilded silver and stripped cloisonné blue enamel antique tea glass holder, an indispensable attribute of the Art Nouveau era. There is an illegible hallmark on the bottom (probably, Austrian).
Dimensions:
Height 2 3/8 inches Upper Radius: 2 5/8 inches Bottom Radius: 2 1/2 inches Weight: 4.21 oz
sold
German Jugenstil
Centerpiece
Ca. 1900
Dimensions:
Length: 23 inches Height: 10 1/2 inches Width: 7 1/2 inches
Probably German, though unmarked, this magnificent Jugenstil silver-plated & hand-cut crystal liner centerpiece was made circa 1900 - 1915 and features a very attractive geometric design, typical for German Art Nouveau movement . Though unmarked, it is clearly in the style of the well-known WMF Company. The high quality metalwork is in perfect original condition, as well as the original finely hand-cut crystal liner. Please refer to photographs, as they are part of the description.
sold
danish art deco
Georg Jensen
Sugar Bowl
Ca. 1935
Danish handmade and lightly hammered sugar bowl with ebony handles and beaded sockets by George Jensen Silversmiths of Copenhagen, Denmark was produced in the period of 1935 - 1944 (Model: 80F). The soft, warm, original finish is present, with no buffing or machine polishing.
Dimensions:
Height: 1 5/8 inches Accross handles: 2 3/4 inches Diameter: 2 1/8 inches Weight: 23.3dwt (94g)
George Jensen Silversmiths of Copenhagen
Georg Arthur Jensen (31 August 1866 in Rådvad – 2 October 1935 in Copenhagen) was a world-famous Danish silversmith. Born in 1866, Jensen was the son of a knife grinder in the town of Raadvad just to the north of Copenhagen. Jensen began his training in goldsmithing at the age of 14 in Copenhagen. His apprenticeship with the firm Guldsmed Andersen, ended in 1884, and this freed young Georg to follow his artistic interests.
From childhood, Jensen had longed to be a sculptor and he now pursued this course of study at the Royal Academy of Fine Arts. He graduated in 1892 and began exhibiting his work. Although his clay sculpture was well received, making a living as a fine artist proved difficult and he turned his hand to the applied arts. First as a modeler at the Bing & Grøndahl porcelain factory and, beginning in 1898, with a small pottery workshop he founded in partnership with Christian Petersen. Again the work was well received, but sales were not strong enough to support Jensen, by this point a widower, and his two small sons.
In 1901, he abandoned ceramics and began again as a silversmith and designer with the master, Mogens Ballin. This led Jensen to make a landmark decision, when in 1904, he risked what small capital he had and opened his own little silversmith shop at 36 Bredgade in Copenhagen.
Jensen's training in metalsmithing along with his education in the fine arts allowed him to combine the two disciplines and revive the tradition of the artist craftsman. Soon, the beauty and quality of his Art Nouveau creations caught the eye of the public and his success was assured. The Copenhagen quarters were greatly expanded and before the end of the 1920s, Jensen had opened retail outlets as far ranging as New York, London, Paris, Stockholm, and Berlin.
sold
American Art Nouveau
Reed & Barton
Tea & Coffee Service
Ca. 1900
Dimensions:
Tray: 12 inches in diameter Pot: 10 x 7 1/2 inches Sugar bowl: 3 3/4 x 6 inches Creamer: 4 x 5 1/2 inches Total weight: 56 troy oz
A beautiful and very elegant American Art Nouveau Sterling Silver Tea & Coffee Service, embellished throughout with high-relief floral motif and garlands. Produced by the Reed and Barton Company around 1900, it consists of 4 items - a round tray, coffee/tea pot, sugar bowl and creamer. Though this service is over a hundred years old, it is in a perfect usable condition and will definitely be a worthy addition to your exquisite home. For more details, please refer to the photographs, as they are part of the description.