By Pierre Grech Pillow, Auctioneer & Valuer, Obelisk Auctions
There are few artistic legacies as layered as Maltese silver from the era of the Knights of St. John. For collectors and connoisseurs, they hold a rare, enduring appeal where craftsmanship, culture, and political power merge into tangible brilliance. As an auctioneer, I've had the privilege of handling pieces that are far more than precious metal, being relics of ceremony, status, and nationhood.
The Silversmiths of The Order
From 1530 to 1798, Malta was ruled by the Knights Hospitaller,
transforming the island into a bastion of European nobility and
religious devotion. Silverwork became part of its physical
expression.
Maltese silversmiths during this period developed a Baroque style,
tempered with Mediterranean restraint. Their output was largely
ecclesiastical chalices, monstrances, sanctuary lamps, reliquaries,
and so on, but domestic silver also flourished, including cutlery,
trays, and elegant tea services for noble households.
Among the most prominent silversmiths were Pietro Paolo Troisi
(1686–1743) an engraver, medallist, and silversmith to the
Order. His sanctuary lamps for Senglea (1719) and Valletta (1733),
and a reliquary for Naxxar (1732), remain iconic. Annetto Pullicino
& Giovanni Andrea Troisi, co-created the silver capsule at St.
Paul's Cathedral in Mdina. Michele Angelo Farrugia, known for
his refi ned late-18th century pieces, were commissioned under
Grand Master Oakes and Pietro Carmine Kalfa's "K"
mark - is one of the most recognisable marks among
collectors.
Many of their creations along with other notable silversmiths'
works remain in situ at St. John's Co-Cathedral, the Mdina
Cathedral, and in parish churches across Malta. Others, once
inherited, displaced, or looted, now resurface at auctions -
sparking intense collector interest.
Silver and Sovereignty: Power Cast in Metal
Maltese silver cannot be separated from the politics that shaped
it. The Knights ruled not as caretakers, but as sovereign princes.
Each Grand Master functioned as a head of state, and silver
commissions became symbols of faith, control, and stature.
Rulers like António Manoel de Vilhena and Manuel Pinto da Fonseca led a cultural golden age. Vilhena emphasised refinement and architecture; Pinto favoured symbolism and patronage. Both invested heavily in silver, commissioning grand works bearing their coats of arms.
The Order's internal divisions often fuelled rivalry. Regional chapters such as Italy, Aragon, and France competed through lavish silver commissions for their individual chapels and altars enriching Malta's silver legacy.
Silver thus became devotional and diplomatic; a votive offering, a gesture of favour, a mark of ambition. Even following the French seizure of Malta in 1798 looting treasures and dismantling the Order - many pieces survived, hidden or spirited abroad. Today, as these pieces re-emerge, their hallmarks reveal the political and spiritual drama of their era.
The British Period and Beyond
Though the golden age of silver ended with the Knights,
fine pieces continued into the British period. Makers like Aloisio
Troisi, Paulo Camilleri, and Enrico Critien produced notable works
from the early 19th century. Their works - distinct yet echoing
earlier craftsmanship - are increasingly valued for their
historical continuity.
Maltese Furniture: A Silent Testament
Malta also boasts a rich heritage in Baroque furniture.
Pieces from the 17th and 18th centuries reflect the same refi ned
aesthetic tastes. Though rarer than silver, surviving examples are
highly sought after and seldom appear at auction.
Lost Treasures, Fragmented Legacy
The French occupation of 1798, and British colonial rule,
saw widespread looting and export of Maltese artworks. Many were
melted down, sold abroad, or vanished into private hands. This
cultural loss has only heightened the value of surviving pieces.
Each work that resurfaces is a piece of Malta's story waiting
to be retold.
The Soul in The Silver
There is a reason why collectors across the world pursue
Maltese silver with such passion. It is deeply personal, political,
and undeniably Maltese. Behind every chalice and sanctuary lamp
lies a human story of knight-hood, artistry, ambition and devotion
- not mere antiques, but the gleam of our history.
For Those of Us in The Auction World
At Obelisk Auctions, handling these works is not merely business,
it is an honour for which we are proud to aid in preserving this
legacy - placing pieces within Heritage Malta's national
collection. These are more than transactions; they are acts of
cultural repatriation, ensuring that future generations witness the
brilliance of Malta's artistic past.
*As Featured in the 8th Edition of the Malta Sotheby's International Realty Portfolio Magazine 2025*
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