Silver Box with Gilt Interior
St. Petersburg, Imperial Russia
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.
Length: 2 15/16 inches (7.5cm) Width: 1 3/4 inches (4.5cm) Height: 1 1/2 Inches (3.75cm)
5 troy ounces (142.1 grams)
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.
Enameled & Gilt Silver
Snuffbox with Hunting SCENES Miniatures
India, 19th Century
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.
FOR Amadeo I, King of Spain
A Pair of Heraldic Wall Sconces
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.
Solid Silver Sculptural Paperweight
Solid sterling silver
Height: 1 1/4 inches Length: 4 1/2 inches Width: 2 inches Weight: 15oz (426.4g)
French Art Nouveau
- Perfume Bottle ~
Body Lotion or Bath Salt Jar
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.
French Art Deco
- 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.
Height: 10 1/4 inches Upper diameter:6 3/8 inches Mid- diameter: 8 3/4 inches Bottom diameter: 5 1/4 inches
Grand Two-Part Centerpiece
This luxurious hand-hammered silver centerpiece consists oftwo parts:
- The smaller footed bowl is raised on oval wood platformб 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.
Dimensions: 12-1/4 x 21 x 18-1/2 inches (31.1 x 53.3 x 47.0 cm)
Weight: 160.14 troy ounces (5kg794 g), including non-silver material
Hallmarks: S.A. CALDERONI, MILANO, 800
This magnificent formal centerpiece was created around 1940 in Milan by S.A. Calderoni, a famous Italian firm of fine jewelers and silversmiths that was established in 1898 and achieved its greatest fame during Art Nouveau, Art Deco and Novecento periods. The company also manufactured items for 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.
Hand-Cut Crystal, 925° Silver, Diamonds & Rubies
Intended for keeping jewels, this rare object of virtue, being a sort of jewelry by itself, definitely has its origins in the boudoir of some beautiful Viennese high-society lady of the Art Nouveau era. With the bottom part of the jar in hand-cut crystal in form of a polyhedron, the main feature of this rare lidded jewelry jar is a silver cover with gilded interior, its top decorated with a repoussé "Moderne" stylized eternal love symbol.
Height of jar (with lid): 2 3/8 inches
Diameter of crystal jar: 2 7/8 inches
Weight of the silver lid: 1.985oz (56.3g)
There are 28 fully cut, very high quality diamonds, each weighing approximately 5 points.
The total weight of diamonds is approximately 1.5CT
There are 27 fully cut rubies, each weighing approximately 8 points.
The total weight of rubies is approximately 2.2CT
The lid is fully hallmarked with 925° silver mark and a five- lobed punch with the head of Diana in profile
(this hallmark was mandated for Austria in 1872).
Inside the hallmark, there is a crescent moon touching her forehead, the city mark under her nose and the fineness mark at the nape of her neck.
In this particular hallmark the city is marked ‘A’ for Vienna, and '3' for the fineness level.
C.C. Hermann of Denmark
Double-Sided Sauce Boat by
A fine, uniquely designed vintage handmade sterling silver double-sided sauce boat with ebony handles that was produced in the late 1940'sby the known silversmith firm of C. C. Hermann of Denmark.
Length: 8 1/2 inches = 21.25 cm Height: 4 1/4 inches = 10.6 cm Width: 7 inches = 17.cm Weight: 16.6 oz (470.6 g)
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..
Length: 3 3/8 Width: 2.5 inches Height: 1 inch Weight: 3.56oz (101g)
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.
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.
Silver-Mounted Cut Crystal
Set of Wine Pitcher and 12 Glasses
Height: 13 1/2 inches Width: 7 inches
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"
German Tromp L'oeil
rare Brotherhood Wine Vessel
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'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.
Austrian Art Nouveau
Gilded Silver and Enamel
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).
Height 2 3/8 inches Upper Radius: 2 5/8 inches Bottom Radius: 2 1/2 inches Weight: 4.21 oz
John Grinsell & Sons
Silver & Gilt Mounted Crystal
This rare XIX century silver-gilt mounted crystal claret jug was made by famous English silversmiths, John Grinsell & Sons in Birmingham, ca. 1895.
Height: 11 1/4 inches Width: 9 inches
John Grinsell & Sons Silversmiths, a business that was originally established in Birmingham before 1864 as Grinsell & Bourne. When the partnership was dissolved (1871), John Grinsell started a new business with his sons (Thomas Bywater Grinsell, James Erazmus Grinsell, Lorenzo Grinsell and Joseph Charles Grinsell) as John Grinsell & Sons. The firm was active at Victoria Works, 57 Tower Street, St. George's, Birmingham. Show rooms were opened at 13 Charterhouse Street, Holborn Circus, London and 73 West Nile Street, Glasgow. In 1905c. the firm was converted to John Grinsell & Sons Ltd. Later the firm was purchased by Barker Ellis & Co Ltd.
Grinsell & Bourne c. 1864 - 1871
John Grinsell & Sons 1871 - 1905
John Grinsell & Sons Ltd 1905 - c. 1920
Dutch Art nouveau
Silver Plated Pitcher
Height: 8 1/4 inches Width: 9 1/2 inches
Presented here is an outstanding hand-made and hammered silver plated water pitcher circa 1900 that was obviously made by a highly skilled artist-silversmith. Lavishly designed in the style of Arts & Crafts / Art Nouveau, it is in excellent original condition with no dents and scratches. 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. The hallmark on the bottom looks like a mill, surrounded by two smoking pipes, facing opposite directions; and number 3030. There are no monograms.
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 have been 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 craftsman.
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.
Maison Odiot paris
French Art Nouveau
Silver & Gilt Mounted Rock Crystal
Height: 12 inches / 30cm Width: 6 inches / 15cm
Made in Paris by Maison Odiot about 1900, this .950 silver-gilt mounted rock crystal claret jug is an extraordinary example of the unique skills of their craftsmen. 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 is decorated with a seashell.
Maison Odiot Paris
Founded in 1690, it wasn’t until the reign of Louis XV that silversmith Jean-Baptiste Gaspard Odiot established the debut of a dynasty. It was, however, his exceptionally talented grandson, Jean-Baptiste Claude, who put Odiot on the world map. The splendor of the Empire era was echoed magnificently in his work. Numerous orders from Napoleon and the imperial family included the sacred scepter and sword, the Emperor’s campaign dinner service, as well as enormous dinner services for his sister, Pauline Borghèse and his mother Laetitia. One of Odiot’s most famous pieces during this era was a shallow bowl said to be modeled on Pauline’s breast. The butterfly, symbolizing the feminine soul, was emblematic of Pauline and used frequently in the decorative arts throughout the Empire era. Charming place card holders also feature the element. Odiot’s reputation extended beyond the Empire to all the royal courts of Europe. Works such as the regal Laurier vase have origins during this period, when similar pieces were used at the imperial Russian court. In fact, many of the pieces in Odiot’s collection today are identical or very close to the ones they originally produced for European nobility, the Imperial Family, the Russian, Bavarian and Romanian Courts. Sharing a love of neoclassicism and antique forms, Thomas Jefferson became friends with Jean-Baptiste Claude when he was stationed in Paris as American ambassador. Both men were fascinated with the ongoing excavation of the Maison Carrée in Nîmes, still one of the best preserved Roman temples to this day. Inspired by the Etruscan purity and elegance of form, it was Odiot who executed Jefferson’s now famous silver goblet, below. And is it a coincidence that Odiot, settling in its current location in 1906, now overlooks the eerily similar Église de la Madeleine ? It is certainly no accident that Jefferson’s Virginia State Capitol resembles Maison Carrée, as he made a model when living in France. And coming full circle, centuries later, the cups returned to Paris as President Nixon gifted six reproductions to then President Georges Pompidou. Today, the heritage of Odiot is intact as its craftsmen continue to produce, with the same savor-faire, masterpieces, including timeless designs from their extensive archives. With many of the original dies and molds, they work in silver, gold and bronze, each trained in their specific métier by a skilled silversmith before them. After more than two centuries of family ownership, the Maison Odiot continues to survive its legacy. Recreating masterpieces from its storied history with the same painstaking craftsmanship for over 300 years, Odiot looks to its past for inspiration and the future for new ways to express its distinguished heritage.
danish art deco
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.
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.
American Art Nouveau
Reed & Barton
Tea & Coffee Service
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.