Gianmaria Buccellati Sterling Silver

This elegant modernist salt shaker and pepper shaker were handcrafted and signed by Buccellati in Italy. The set features a cluster of three trumpet mushroom. The larger one represen...

Simple elegance, handcrafted from sterling silver. Made in Italy by the 18th century house of Buccellati, whose artisans emphasize timeless style, integrity of materials, and pleasur...

Superbly crafted Palm Beach by Buccellati sterling silver flatware set with many servers. This large 93 piece sterling silver Palm beach by Buccellati set includes: 8 KNIVES, 8 1/4", 8 FORKS, 7 3/8", 8 SALAD FORKS, 6 3/4", 8 TEASPOONS, 5 1/2", 8 PLACE SOUP SPOONS, 6 7/8", 8 FLAT HANDLE BUTTER SPREADERS, 5 1/4", 8 DEMITASSE SPOONS, 4 1/8", 8 OYSTER FORKS, 5 1/2", 8 PASTRY FORKS, 3-TINE, 5 3/4", 4 SERVING SPOONS, 8 1/8", 1 SALAD TONGS...

Gorgeous bowl for caviar by Gianmaria Buccellati. The body was made in two parts, cup and base. The welded edge with cross ribbon characterizes the Classic Luis XVI style. A wire ...

Beautiful sterling silver , Lotus bowl. Signed and marked .925. also star mark.

Important bowl for caviar by Gianmaria Buccellati. The body was made in two parts, cup and base. The welded edge with small leaves characterizes the Classic Empire style. A wire circ...

Horse in black lacquered resin with a sterling silver armor with Russian 14th century knight in sterling silver armor with golden and enameled details.

Miniature in 925 sterling silver depicting a saddle, boots, hat and whip for a jockey resting on a wooden fence. The workmanship is in fusion and finished with chisel. The object c...

Horse in black lacquered resin with a sterling silver armor with Italian XIV Century Knight in sterling silver armor with golden and enamelled details.

Stunning vintage 1980s original Ruzzetti & Gow Italian sterling silver wrapped spindle tibia shell is 8.5" long. Has the original tag inside. Excellent table top decorative object. G...

An antique sterling silver jewelry dish with repoussé floral design, by Wilcox and Wagoner, New York, circa late-19th century. Dish, in the Buccellati style, is oval with repoussé fl...

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...