The roots of Decorative Arts lie in antiquity, where both Mediterranean and Chinese civilizations aspired to create objects that combined utility with artistry and elegance. The aim was not only for an item to fulfill its practical function, but also to emphasize the status of its owner and inspire admiration.
The value of these objects continues to grow thanks to their uniqueness, the limited output of their makers, rising prices of precious metals (such as silver, gold) and copper used in decorative arts, and the decreasing availability of such works on the market amid constant interest from investors and collectors.
“Apostle” spoon with St. Simon, silver, England, 18th century.
Spoon, so called "apostolic" with a handle topped with a full-figured figure of St. Simon Zelota holding a saw, which is his attribute. The head of the saint topped with a circular shield with a representation of a bird (probably a dove symbolizing the Holy Spirit). Item of liturgical or collectible nature.
“Apostle” spoon with St. Thomas, silver, England, 18th century.
Cup, silver, Poland (?), 17th-18th century
A cup made of forged silver, likely intended for drinking vodka or other spirits. The vessel has a squat form. The bowl with a semicircular bottom has straight walls, slightly flared upward. The rim is straight, slightly tilted outward and clearly separated from the wall section by a row of concave dots. The bowl has a five-part form – both the rim edge and the walls are divided into five convex segments, separated by vertical fluting. The vessel is set on a low, conical foot and fitted with a flat, S-curved handle. The surface of the bowl is decorated with engraved floral motifs and rocaille ornament.
Similar cups are characteristic of 18th-century Russian silverwork. As a rule, however, they are hallmarked. Our specimen bears no marks, although it undoubtedly came from a fine silversmith's workshop. It is possible that the cup described was made in the 17th century and not in Muscovy at all, but in the east of the Polish-Lithuanian Commonwealth. This would explain the absence of hallmarks, which is quite normal for Polish silver from that period. At the same time, it should be remembered that the origin of the popular Russian cups is unknown.
Devotional Ring, Silver, Lviv, 1872-1920
Devotional ring made of silver, featuring a representation of the crucified Jesus. The band bears a hallmark in the form of a lion's head facing left, with the letter "F" and the number "4" on either side, as well as an additional mark with the letter "F". These marks were used by the assay office in Lviv between 1872 and 1920. The maker's mark is unfortunately illegible. The ring is distinguished by an exceptionally rare form. It was likely worn by someone associated with the Church - a priest or a member of a religious order.
Friedrich Schmidt the Elder or the Younger, lidded tankard, silver-gilt, Germany (Nuremberg), 2nd half of the 17th century.
Crafted from silver and gilt on the interior, this Baroque lidded tankard (or goblet) is by the Nuremberg silversmith Friedrich Schmidt the Elder (active from 1653) or the Younger (active in the 2nd half of the 17th century). The vessel is distinguished by a form characteristic of the artistic craftsmanship of the period and a rich iconographic program. It was executed in a style referred to in art history as Baroque Gothic Revival or the gotisierend trend.
The tankard's body (corpus) has a slightly bulbous, ovoid shape, tapering downwards, set on a distinct foot. The central part of the body features a wide frieze with a repoussé figural scene. It depicts figures in historical or courtly attire, placed under arcades supported by columns. Two arcades are occupied by single male figures playing instruments, while the other two feature pairs – a woman and a man. At the base of one of the small columns separating the arcades, two engraved intertwined monograms are visible: TS and MJ (?), which likely represent the signature of the owners, donors, or patrons of this vessel.
The vessel's lid is high, domed, and crowned with a decorative finial (stopper) in the form of an ornate knob. Its circumference is adorned with an inscribed band featuring stylized Gothic script/Fraktur: "es gott it vergestrit und". The upper parts of the lid are decorated with pointed arch motifs, referencing Gothic architecture.
The large, S-shaped handle is made of a smooth silver band, strongly curved into a heart shape. It is topped with a hinge shield, characteristic of Baroque vessels, and a shaped thumb-piece (pusher) facilitating the lifting of the lid.
The foot is round, profiled, and strongly flared downwards. It is covered with relief decoration featuring "architectural" motifs, harmonizing with the ornamentation of the lid. On the undulating edge, two hallmarks are visible: the Nuremberg city mark (letter N) and the silversmith's maker's mark (FS).
Dimensions: 17 cm (height) x 11 cm (width with handle) x 8 cm (width without handle)
Weight: 165 g
Garment Clasp, Gilt Silver, Poland, 17th Century
An ornate clasp made of gilt silver, composed of two round discs connected by a ring to which chains are attached. Currently, the discs are permanently joined; this may be a period modification. Originally, they may have been separable, with the chains serving a decorative function.
Each disc consists of a smooth base covered with an openwork overlay decorated with rocaille ornament and a border of fine hatch marks. The lower disc has a similar border of hatch marks, and along the outer edge an additional decorative band in the form of concave dots creating a circular ornament. At the center of each disc is a flattened loop; this element serves a structural function, connecting the openwork overlay to the base.
On the reverse of both discs are elements enabling their attachment to clothing. On one side of each disc are catches connected by a common ring, while on the opposite side are individual fastening elements; in one of the discs, a loose ring is preserved alongside them.
The form clearly indicates its function as a fastener for a cloak, caftan, or other type of garment. Clasps of this type are well known from 17th-century iconography and appear in portraits of the nobility and wealthy bourgeoisie.
Ivan Khlebnikov, Kovsh with horse’s head, silver, enamel, gilt, Moscow, 1860-1918
A unique kovsh from the famous Moscow factory of Ivan Khlebnikov, made of silver and maintained in the aesthetics of the Novorussian style. The surface of the vessel is decorated with enamel cloisonné - cells formed from thin silver wires soldered to the body, forming partitions later filled with colored glaze, repeatedly fired and polished. The result is a smooth, glossy decoration with floral and geometric motifs in vivid colors. A striking accent is the naturalistically chiseled silver horse's head forming the vessel's handle. The interior retains traces of the original gilding. The kovsh bears the punches: the inscription ХЛѢБНИКОВЪ, which is the signature of Ivan Khlebnikov's company with an eagle (marking the Imperial Court's suppliers), and the oval Moscow probationary mark - the profile of a woman in a coquina with the Greek letter delta and the number 84 (partially rubbed off), indicating the sample of silver.
Medieval chess figure (chaser), bone, Scandinavia (?), 12th century.
A fragment of a medieval long bone figurine of an unspecified animal (probably a land mammal) in the form of a semi-plastic human figure. The head covered with a mitre was depicted in quite a detailed manner. On the chest there is a relief, pointed downward, which can be interpreted as an image of an ornamental belt constituting the hem of a chasuble. The lower part of the body (partially preserved) was probably entirely unornamented - smooth. At the back of the figure, the bone was heavily transformed: edges rounded, spongy structure preserved residually.
The figure is placed in a Plexiglas display on a base that is a reconstruction of its lower part.
Monstrance, brass with silver-plated elements, France, ca. 1860-1890
Oval, spacious body in a frame decorated with floral motifs (roses, leaves). At the top is a cross placed between the angel's wings. Inside the body is a silver-plated lunula, used to place the host. At the back, a glass door on a hinge, which is typical for reliquaries or monstrances of the "personal" type.
The back of the body has a rougher finish than the richly decorated front, which is standard in 19th century sacred goldsmithing. The whole is set on an ornate molded base with a round foot.
The stylistic representation of the angel and the floral ornamentation of the frame are textbook examples of French sacred goldsmithing from the Second Empire (Napoleon III) or early Third Republic period. The combination of Baroque motifs (rich ornamentation, angels) with neoclassical and floral elements is typical of European sacred art of that period.
Due to its size and the glass door at the back, it can be assumed that the monstrance was probably intended for domestic use in a wealthy residence or as a side altar/chapel fixture.