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Two new articles for ASCAS website

Willand Ringborg presents: Salt thrones from Russia: two important objects by silversmith Alexander Fuld Salt chairs, or salt thrones, are well known in the older Russian welcoming ceremony. When entering as a guest through the door, you were invited to a piece of bread and salt, in prominent homes often from a salt cellar in silver in the shape of a chair or a throne. In this article Willand Ringborg describes two important Tsarist Russia silver salt thrones by silversmith Alexander Fuld click here

Giorgio Busetto presents: A misleading tea complement: the waste bowl Benvenuto Cellini (1500-1571) in his autobiography 'Vita' offers a description confirming that ort bowls, slop bowls, alms-dishes, voiders, waste-pots, waste bowls... (as these by many names items are known), were used since ancient times. In their different shapes, measures and materials they are containers into which to put unwanted scraps and pieces of food in order to clear the plate. click here

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Lazare Berneman - Belgium
Michael Berry - USA
Vineet Bothra - India
Greene Drucker - USA
Pat Findlay - New Zealand
Michael Gosling - England UK
Adrian Higgins - England UK
Juhana Kerppola - Finland
Arthur A. Jackson - USA
Andrea Menarini - Italy
Sarah Pitman - USA
David G. Reynolds - USA
Deniece Sprinkle - USA
Angela Terrazzini - Italy
 

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Members' Window # 27

Giorgio Busetto presents: A silver 'dance card' holder by Joseph Wilmore Dance cards became popular items at balls and assemblies in the early 19th century when the more formal balls used in the previous century were abandoned. In the new social context the 'Dance cards' ('carnet de bal' in French) were used by ladies to keep track of the gentleman to whom they had promised dances in the course of the evening. The ladies participated in the ball with their personal 'Dance card' contained into an elaborate cover of bone, silver or ivory, often with miniature petit point canvas inserts. click here

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Questions from ASCAS members

Thomas Martin writes:
......first congratulations to your site, very very informative. Even there is a lot of information I can't find two silver marks of two pieces I have. One is definitely Russian the other Italian.
Perhaps you can help me or point me to a direction. I send you four images (object and stamps).
If you find time perhaps you can tell me from whom they are.
The niello tray is Russian, the Italian silver statue seems to be 17th century or earlier
Thanks in advance
Thomas Martin

Dear Thomas,
You have two interesting silver pieces.
1) Russian piece: silversmith Ivan Dmitrievich Saltbkov - assayer Lev Fedorovich Oleks - date 1895 - town of Moskow
2) Italian piece: silversmith Lorenzini Nicola - active from 1756 - died 1767 - Roma (Rome) - Stato Pontificio (Papal State).
Giorgio Busetto

Roberta Markow writes:
...... I have attached a series of pictures of the Eastern European flatware I have in my possession. My father's family immigrated to Philadelphia in the late 19th or early 20th Century (1890-1905 sometime). They considered themselves Russian but the area of their home is now central Ukraine. They were greengrocers and teachers in the old country and were quite impoverished. I vaguely remember my father discussing this silver with me as a child and indicating that it was the only wealth they brought to America. There probably were more pieces that were sold over the years......If you are familiar with this sort of thing I would appreciate your telling me anything you might surmise of the possible history of these interesting pieces.
Roberta Markow

Dear Roberta,
I have some information about these silver spoons:
photo 1-2: Town of Gitomir - assayer Arzhannov A. - silversmith unknown
photo 3-4-5: town of Odessa - assayer Lapshin Vasiliì - silversmith unknown
photo 6-7: town of Minsk - assayer and silversmith unknown
The number beside the assayer initials refers to the date of assaying - 84 is the silver purity degree in 'zolotnicki'.
photo 8: this is a piece of German area. 12 refers to silver purity degree -12 lot-
photo 9: not readable
I hope that ASCAS members may add more useful information about these pieces.
Giorgio Busetto

Nancy Varela writes:
......Hello, my name is Nancy Varela from Lebanon, Oregon. I am wondering if anyone knows anything about the Yale silver co. ?
Replacements.com told me that they are now part of Reed and Barton but haven't identified the pattern yet. Any info. would be appreciated!
Thank you!!
Nancy Varela

Viv Hart writes:
....... A friend has asked me to do some research on this silver box that he says was his Grandfathers. I have attached some photos of the box and of the hallmark that is on the bottom of the box. I would appreciate any help that you could give me.
Viv Hart

David Herman writes:
....... The attached photograph shows a silver mark that I am having a hard time identifying. I have been to your excellent web site, and can find no marks that are close to it. I was wondering if you could take a look at it and see if you have a clue. It shows a crown over the number '88' which is over a partial fleur de lis. The mark beside it appears to be 2 birds joined at their tails flying in different directions.
Thank you in advance for your time.
David Herman

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Replies to members' questions

David Elyea receives this reply about the marks of his silver tray ( see June Newsletter)   Charles C. Cage writes: .... The style and marks indicate late 18th/early 19th Spanish colonial, specifically Guatemala. The crown is the mint mark for the Capitanía General de Guatemala (Captaincy General of Guatemala, as the country was known under Spanish rule, 1540-1821), and the crossed swords are the city mark for León (now in Nicaragua). The maker's (assayer's?) mark of 'AB' is recorded, but curiously with the city mark of Santiago de Guatemala, rather than León. Unfortunately, I am not sufficiently well-versed in Spanish colonial silver (an area, I understand, rife with forgeries) to either explain this anomaly or offer an opinion as regards authenticity. Perhaps another member could add more. Charles

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Richard L. Christiansen receives this reply about his silver cup on June Newsletter   Charles C. Cage writes:   Regarding Richard L. Christiansen¹s Goblet: I believe Dalarna region is correct, specifically the city of Falun, the city mark of which is quite worn here. The date code O3 is for the year 1820, and the maker GOS is Gustaf Otto Sjöberg, working in Falun 1803-1824. Charles

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Sharon Bares receives this reply about her silver cross ( see June Newsletter)   Charles C. Cage writes: .... Regarding Sharon Bares¹ Norwegian cross: The maker 'Lo' is Brødrene Lohne A/S [Lohne Brothers] of Bergen, working 1918-present. Charles

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Paulina Wojdak receives this reply about her silver object (see June Newsletter)   Charles C. Cage writes: .... Regarding Paulina Wojdak¹s Augsburg Sugar bowl: The Augsburg date mark W is for 1811, and SEETHALER is the retailer Johann Alois (alias Johann Nepomuk) Seethaler (Master 1796). The actual maker¹s mark is worn, but appears to be IBS for Johann Balthasar Stenglin (Master 1765), whose mark is known to appear with Seethaler¹s in 1811. Charles Karin Sixl-Daniell writes: .... The answer to Paulina’s question (Augsburg basket) is as follows: It is indeed Augsburg; it is probably from 1811. It seems to have been sold by Seethaler; 'IBS' was the maker. 'IBS' was most probably Johann Balthasar Stenglin (married 1765, died 1820). Two such baskets, apparently very similar - if not identical - are recorded in Rosenberg, p. 236, Vol. 1 (for mark 1015) for this combination of marks. It there says that five more pieces with this combination of maker’s mark and mark of where it was sold are known. Kind regards Karin Carl Heimann receives this reply about his silver milk creamer (see June Newsletter)   Charles C. Cage writes: .... Regarding Carl Heimann¹s Hamburg creamer: The Hamburg city mark with A was used by Hamburg assayer Jacob Nicolaus Wilhelm Schäffer, serving as assayer from 1828 to 1851. The maker NOACK is Johann Friedrich August Noack (Master 1816). Charles Great interest and many replies for the question about the teapot and its maker's marks submitted by Michael Blake (see June Newsletter)   Adam Goldsmith writes: .... I received the latest newsletter and perhaps could give answers about silver marks of Michael Blake. Michael’s piece is definitely dated 1726/7 which would then match to the maker’s mark of Richard Green which was registered in 1726. The date letter appears on p. 130 and the makers mark on p.152 middle column of the Wyler book. Hope this helps Adam Goldsmith Andrea Perego writes: .... it does appear like your coffee pot was made in London in 1668, according to the marks. I would say though its shape is XVIII century, a better and sharper picture of the marks could help. 1668 seems actually too early for a coffee pot. Cheers Andrea Perego Debra Lewis writes: .... Michael Blake's pot appears to be a chocolate pot. Hernando Cortes brought chocolate to Europe in 1528, and it became popular rather quickly. Chocolate pots characteristically have the handle on the side as is shown in Mr. Blake's photo. Some days ago I went to a very exclusive silver shop in San Francisco and the highly competent dealer showed me several chocolate pots and mentioned a quite distinctive feature of chocolate pots which should enable to ascertain if that is indeed what it is. The lid's finial on chocolate pots should be removable so that a round opening in the lid can be uncovered to allow the use of a long-handled stirrer. I regret that I cannot help with the question of the marks. Debra Lewis Les Salvage writes: .... I expect you will receive a number of replies to Michael Blake's pot question but I am replying nevertheless. The marks shown are a leopard's head, lion passant and an upper case L in a shield with a straight top and these all point to a London assay in 1726. The initials RG may well signify Robert Garrard as the maker. Others may confirm my thoughts on this Best Regards. Les Salvage Giovanni Ciceri writes: .... First of all from what I can gather it seems a very nice pot (coffee o chocolate if the finial can be moved and a hole appears). This shape is typical of George I reign. The lid that is flatter than the dome shape ones use during the Queen Ann period leads to date the pot around 1725-1730. No possibility that such shape may be in use before. About the chasing (flat chasing?). It is not clear from the image but it seems a floral and rococo decoration. In the latter case it should be added later, presumably around 1750 or during the Victorian period. And now the marks: actually 1668/9 from the shape of the punch of the lion passant and the date letter. The maker is indeed Richard Green entered 1726. What happened? In my opinion a rare example of duty dodging. The position of the marks (scattered) are quite typical. You should verify the evidence of soldering, but take into account that this practice was often very well done (you can read my article for ASCAS at the link http://www.ascasonline.org/articoloaa31ING.html for a deeper inspection of the pot, also regarding the manufacturing technique and other details). Usually duty dodging was performed at this time by using contemporary marks taken from a small item. I read that an alternative practice was to solder older marks when duty on silver was not in force (before 1720). This should be your case and it is the first time that I can see an example. A question: no marks inside the lid? Kind regards Giovanni top page - page map     "A page per month" In this column we present a page (one page only) obtained from makers' brochures, books, auction catalogs or whatever other printed paper, which may be of particular interest for ASCAS members. The images will be published at a "low resolution" level and for private and personal use only   This month ASCAS presents the images of 'RICH PIECES IN STERLING SILVER FOR WEDDING GIFTS', a page from the Daniel Low & Co - Gold and Silver Smiths - Essex and Washington Sts - Salem Massachusetts 1901 catalog top page - page map       Web www.ASCASonline.org www.silvercollection.it   top page - page map     Closing our JULY 2006 edition of ASCAS Newsletter I hope you have appreciated its content. Your comments, suggestions and advice will be of great help. My thanks to Charles C. Cage (USA), Giovanni Ciceri (Italy), Jayne Dye (USA), Adam Goldsmith (South Africa), Viv Hart (USA), David Herman, Debra Lewis (USA), Roberta Markow (USA), Thomas Martin (Argentina), Andrea Perego (Italy), Willand Ringborg (Sweden), Les Salvage (UK), Karin Sixl-Daniell (Austria), Nancy Varela (USA), for their invaluable contributions. Giorgio Busetto Secretary top page - page map   DISCLAIMER AND PRIVACY POLICY ASCAS is a community of people having a common interest in antique silver. It is a no-profit association without commercial links. Membership is open to whomever have a true interest in this subject matter. ASCAS has no real property and no fees are requested nor accepted from members. ASCAS keeps in touch with its members only through periodical newsletters, e-mails and web-site updatings and ignores and is not responsible for any other activity pursued by its members. Likewise, ASCAS is not responsible for opinions, evaluation and images displayed, and in any form published or supplied for publication, by its members who, in any case, maintain the property of their works and assure the respect of national and international legislation about Intellectual Property. ASCAS does not have the full addresses of its members (only town, country and e-mail address are requested for membership). ASCAS handles and protects with care the e-mail addresses, will not disclose the addresses to third parties and uses this information only to reply to requests received by members and for communications strictly related to its activity. These rules are expressly accepted by submitting the membership request.

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