ASCAS Association of Small Collectors of Antique Silver        newsletter # 67 DECEMBER 2009     SITE MAP
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2010 ASCAS membership

No fees are requested nor accepted for ASCAS membership.
Members still interested to ASCAS and its activity are invited to send an e-mail to

confirming their 2010 membership (the simplest way is to use the 'reply' button on our December e-mail).
I apologize for this little effort asked of whomever appreciates and supports ASCAS activity.

No action is required to unsubscribe. Members not confirming their membership will be automatically deleted from the sending of our monthly Newsletter and will be suspended on February 2010.

Please accept my best wishes for a happy Christmas and a prosperous New Year and my thanks for your present or past appreciation of my work.

Giorgio Busetto
ASCAS Secretary

Two new articles for ASCAS website

A painting exhibited in Corals and Bells at the Zilvermuseum Sterckshof Provincie Antwerpen
The Staff of Zilvermuseum Sterckshof Provincie Antwerpen presents:

Coral and Bells - A Collection of Rattles English version

.....Rattles are among the oldest toys in the world. They appear in pre-Columbian America, in Pharaoh's Egypt and even in the Hittite kingdom. It is thought that during the earliest civilizations rattles consisted of a dried fruit whose seeds sounded like little bells when shaken. So it is hardly surprising that the oldest known examples, which are made of earthenware and bronze, are in the shape of a gourd or pomegranate.
Though a rattle was first and foremost a small toy used to distract the young child and calm it when teething, it was always believed that the object had exorcising and protective powers as well. It was thought to avert calamity and to help dispel evil......

click here English version
hallmarks on duty dodgers coffee pot
David McKinley presents:

The Background To "Duty Dodgers" English version

.....Duty at the rate of 6d per Troy ounce was first laid on English silver plate by an Act of 1719 entitled "An Act For Laying A duty On Wrought Plate" which came into affect on 1st. June 1720.

This Act required that each silversmith must take every piece of plate that he had had hallmarked to his nearest Excise Office where it would be weighed and the appropriate tax put on it. He was then given 15 days in which to pay this tax.....

click here English version

New members

Welcome to new ASCAS members:  

Noah Belisle - USA
Leslie Canerday - USA
Stephen Caswell - England UK
Ricardo Francisco Correnti - Argentina
Ann Daniel - Canada
Riaz Fayers - South Africa
Darrell B. Hamley - England UK
Eddy Huysmans - Hungary
Nathalie Jotterland - Switzerland
Werner Lack - Germany
Linda Maloney - USA
Ylva Mannerheim - Sweden
Claudio Morelli - Italy
John H. Redfern - France
Yosef Shlingbaum - Israel
Jan & Tony Spicer - West Wales UK
Sharon Urdahl - Canada
Michael B. Westman - USA
Christine Zachary - USA
top page - page map

Members' Window # 67/1

unmarked silver monteith
Alan Yates presents:

An unmarked Monteith English version

The above item was purchased recently at the Olympia Arts and Antique Fair. It is a superb piece, in excellent condition, but unmarked. It was described as 'Silver Bowl. Gilt inside. Ca 1830. Unmarked'.
I visited the V and A the following day but could find nothing in the silver collection to assist me to identify it. A very helpful member of staff suggested that I forward images to you and that you would kindly assist. It is 32 cm across and weighs 2 kgs (70 oz).......       click here English version 

Members' Window # 67/2

A&W.pipe, London 1910
Piero Eduardo and Giorgio Busetto present:

A pipe collection with silver complements English version

A pipe for tobacco smoking typically consists of a small chamber (the bowl) for the combustion of the tobacco to be smoked and a thin stem (shank) that ends in a mouthpiece (the bit).
Pipes can range from the very simple machine-made briar pipe to highly-prized handmade and artful implements created by renowned pipemakers which are often very expensive collector's items.
The stem needs a long channel of constant position and diameter running through it, and this is difficult to carve out of a pre-existing block. Because it is molded rather than carved, clay may make up the entire pipe or just the bowl, but most other materials have stems made separately and detachable.
In this page I present some pipes of my collection with a silver band connecting the bowl to the detachable stem.......       click here English version 

Mail to ASCAS: e-mail

Paul Barclay writes:
...can you please help to identify the hallmarks of this covered cup?
Paul Barclay
Any suggestion will be appreciated
Giorgio Busetto

David Rubin writes:
...I have a silver beaker approx 100 years old from Russia or Romania which I'd appreciate anyone's insight on. I can't make out the letters on the hallmark. The seller said they were some sort of Hebrew script. [Someone made out the letters ksf in Hebrew meaning silver.]
David Rubin
Your help is needed
Giorgio Busetto

RJ Spencer writes:
...I have a large set of what I believe to be German silver and have searched for marks for two years now and can't come up with a maker of this set.
I do have pictures of the mark. It starts with a crescent moon, a crown, 800, then a bird sitting on a tree limb, with a large spread tail.
I have taken copies of the pattern and the marks. It would appear to me that it is from the 1880's to 1920's time period.
I write for Schroders price guide for American silverplate and sterling flatware, but I haven't been able to find a good pattern book for foreign silver patterns. I know many people are confused by trying to match or add to their foreign patterns because of the lack of a pattern name.
Are you able to help?
RJ Spencer
The maker of your flatware is Kaltenbach Karl & Sohne, Stuttgart, Germany.
I have no idea about what is the pattern, but in Europe the number of patterns, their research and collection isn't comparable to the interest that this matter provokes in the US.
Giorgio Busetto

Thanks for you are a few more pics of the pattern.
One more doing research today...I find there is more info in two recently published books...wondered if anyone has these in his library and can give me more info on Karl says.....
pps. Real Silver Flatware, Altensteig, Stuttgart, Karl Kaltenbach and sons...circa 1980....
the other is by Singer, RW the German silver cutlery, 1805-1918, Stuttgart, 1991, ill.
Rick Spencer
Can someone help Rick in his research?
Giorgio Busetto

Jan & Tony Spicer write:
...May I add a request to the next newsletter for any information or help on identifying this item.
It appears to have a Russian hallmark and we would like to know what the item would be used for and whether the marks can be identified.
We have only cleaned the area by the mark at present.
Jan & Tony Spicer
I believe that your item is a centerpiece having only decorative function. The circular mark is Moscow 1899-1908 (see Members' Window # 10). The maker mark isn't identified in my literature.
In my opinion there are no contra-indications to polish (moderately) your silver item.
Giorgio Busetto

Christophe Ginter writes:
...Hopefully, an ASCAS fellow member might indicate who is this Swiss silversmith with initials AT, crowned, over a star.
Thank you for advising me who is he, where and when he was active.
Many thanks in advance for your support.

Willand Ringborg writes:
(a following to Members' Window # 45 and # 63/2)
Dov Vulics observation is a strong contribution to the art of examination of later Soviet assaying varieties. First of all, the evidence shown following the provenience of the goblets and the apparently sharp stamps falsifies my previous suggestion that the earlier assay stamp shown was probably false.
The verification of the existence of such a stamp, used as the official assay mark shall not any longer be doubted.
However, this new finding might be a little further discussed. The stamps shown are three-element stamps with content to the standard stamp referred to (Postnikova # 3952, assaying district, the 5-edged star with sickle and hammer, silver fineness) of which we have seen thousands. But, this variety is not at all similar; the hooks are not shown, and non-existing in the standard stamp, used all over Soviet. One thing is fairly clear; it was since assaying started in Russia a strong centralized control and production of stamps, a monopoly of the Russian Mint. The reason was the creditability of the assaying and to avoid assaying varieties.
From this follows that the shown variety, which I never met before, must be explained. The first shown stamp carries a K as the assaying office, which then means Kiev. The stamp now shown on the goblets seems to carry an H in Cyrillic, Latin transcription an N) which then refers to Novosibirsk. The factory is located to Baku, in the Dagestan province of Soviet (now Azerbaijan). It is no dispute here that the Baku silver was stamped in the Novosibirsk assay district 1000-of kilometres away; the assaying districts were enormous, all-in-all 15 in the federation.
Thus, we have now two examples of this stamp variety, in two assaying districts. This must be regarded as a regional or temporal, seldom seen, exception from the soviet assaying standard, not earlier recorded in the standard literature.
Willand Ringborg

Yvonne Riches presents her comment to THE BOOK OF OLD SILVER presented in "A Book on my Shelf" (see Newsletter # 46 March 2008)

The Book of OLD SILVER by Seymour B Wyler
I was recently given a copy of this book which was published in 1937 and which claimed, at the time, to have all available hallmarks including Sheffield Plate for English, American and Foreign Silver. It is also illustrated with black and white photographs of a number of silver items.
After contacting some learned friends I obtained the following comments from them about the relevance of the book today in identifying hallmarks on silver. [Thank you to Jolyon, Richard and Patrick].
The British Marks are most likely based on the original Jackson's (1905/1921), not the updated and thoroughly revised "Pickford" edition (1989). The marks are therefore rather "dated" in scholarship. The European marks (some errors) are based on Rosenberg "Der Goldschmiede Merkzeichen". This work in 4 vols (1928) is still very useful though again becoming a bit dated with recent expansion of scholarship (e.g. recent Nuremberg now in two vols, and a little longer ago Augsburg in 4 vols). The only advantage of Wyler seems to be that it has very basic coverage based on Rosenberg. So why not get Rosenberg itself?
In short Wyler does offer a précis of European marks and there aren't too many alternatives for this in one volume though Tardy is perhaps the currently accepted general reference.
Therefore the winning combination today for identifying makers’ marks and hallmarks on silver is the Rosenberg plus the revised Jackson.
Yvonne Riches

I fully agree with Yvonne about the superior scholarship of Rosenberg and Jackson compared to "The book of Old Silver". Nonetheless, Wyler's book is easily available for a few dollars (I saw used copies on sale through Amazon for about $5), while well over $500 are requested for Rosenberg (if you succeed to find it) and I spent well over $100 for my Jackson (and so on for Grimwade, Culme, etc.).
Often, limited resources and consequent cost-benefit analysis compel "small collectors" to choose the "good" renouncing foregoing the "best".
By the way, Seymour Wyler wrote another less known, low cost, "basic" book of possible interest for silver collectors:
The book of Sheffield Plate, claiming to present 'All known makers' marks including Victorian Plate insignia'.
Giorgio Busetto

Replies to questions

Michael Shatkin receives this reply about his cutlery set 
(see November 2009 Newsletter)
Oskar M. Zurell writes:
It's a "Mono bloc" cutlery in steel (wrought in one combined part); decoration made by etching process. Former galvanized with Nickel and then after gilded.
Inscription (in an attempt to pass it off as an antique): FA(BRI)CA / DE / TOLEDO.
Its signification is: Made in Toledo
This kind of flatware you could buy also today in some souvenir shop of Toledo, Spain; made in little workshop by use of somewhere prefabricated knife, fork and spoon; also in servers dimensions too.
Kind regards,
Oskar M. Zurell

Jayne Dye receives this reply about her silver plate salt 
(see November 2009 Newsletter)
Oskar M. Zurell writes:
I haven't also luck in exact identification oft first row text; I read: ? PNOMOURI ? (maybe an identification in by me unknown language for: Plated)
Second row: EP ? AI: Its signification is: Electro Plated (Silver) Alpaca 1st quality of Nickel-Silver = CuNiZn alloy with more then 11% Ni (content of Nickel 11% or below 11% = AII; below 8% = AIII).
SAVOY / 6C could be an identification of ownership (Hotel SAVOY) and Inventory (or Model?).
Oskar M. Zurell

Christophe Ginter receives these replies about his Belgian mark 
(see November 2009 Newsletter)
André Van den Kerkhove writes:
Your mark is indeed of a Ghentish silversmith
It is the master mark of I.S. De Wolf., working in the second half of the 18th century. A 1772 chalice of this master has been preserved in the church of Borsbeke (Belgium, Flanders)
Very few works of his are preserved and, as far as I know, no biographical data on him has been published.
Yours faithfully
André Van den Kerkhove
Director in honour of the Historical Museum of the Byloke of the City of Ghent
Hugo Keymeulen writes:
Hallo from the Flanders
About the silversmith JD crowned Gent 1777, the only info I found is his name J De Wolf
Work known from him covers the years 1777-1782:
there is a flatware dessert 1777-1778 in a private collection in Herentals
there is a Chalice 1782 in a church in Borsbeke
Hugo Keymeulen
Emil Fonfoneata writes:
The maker’s mark you found on your silver item is certainly from Gent and the silvermith is J.S.De Wolf. He entered in the silver guild in 1776.
Normally you should find on your silver item 4 marks: the silversmith, 2 city marks (poinçon de la ville) and a letter date, in your case it’s the last 2 numbers from the year.
So 17_77 with a crown on top. In Belgium the use of the letter date mark stops in 1749 due to an ordinance from Maria Theresia. She changed the letter date mark into a mark utilizing the last 2 numbers of the year.
This year-number date mark lasted until 1798, the end of the Ancien Régime and the beginning of the Napoleonic period.
Emil Fonfoneata
Robert Massart writes:
Concerning Christophe’s question about a Belgian silver punch, I received following information of "Zilvermuseum Sterckshof Antwerpen":
The punch is attributed to the silversmith IS (= Isidore ?) Dewolf. He entered his mark in Gent in 1776. Biographical data are not available and it is not known how long he was active.
Kind regards,

Adriane Shuford Crosland receives these replies about her silver tankard 
(see November 2009 Newsletter)
Oskar M. Zurell writes:
to the Question by Adriane Shuford Crosland I've the following answer:
Yours "Diana" Tankard is made after 1878 - French Export Mark 1878-1973: vertically elongated hexagonal mark, shown «Mercury / 1 (left side, below chin)» = .950 Silver - by Emile Puiforcat, 18, rue Chapon, Paris.
Puiforcat maker's mark (in a horizontal lozenge): letters EP stand for Emile Puiforcat; the knife in between E and P symbolizes Jean Baptiste Fuchs, knife maker and co-founder.
Kind regards,
Oskar M. Zurell
Emmanuel van Zuylen writes:
The marks of the tankard are these of Emile Puiforcat (EP), French silversmith of the end of 19th century and beginning of 20th, while the second mark is a guarantee for silver used in France from 1870 till later.
This will say that the tankard is a copy made in France or made in England and sold by the house Puiforcat which has attached his mark.
Emmanuel van Zuylen
Christophe Ginter writes:
regarding Adriana's request, the marks are:
- left : exportation mark from France, in use 1879-1973
Mercury's head, title .950 - please see the attached image,
- right : maker's mark from the very famous PUIFORCAT company.
The mark has not been changed from 1820 (EP for Emile Puiforcat, symbol = an office knife).
As the company is still active, Adriana may ask whether (and when) her silver item was sold. Web site =
French export mark, 1879-1973
When considering again the images provided by Adriana, it appears that the exportation mark struck for this silver item may not be the one used between 1879 and 1973 but the one used after 1973. They are pretty similar, one can see a letter (?) on the bottom, left. Please refer to the image below.
Christophe Ginter
French export mark, 1879-1973
Emil Fonfoneata writes:
The item you show is made in France, Paris by the famous silversmith atelier Emile Jean Puiforcat (1897-1945).
The other stamp is the Mercury mark (French control mark) for export, used between 1878-1973.
Emil Fonfoneata
Alessandro Colemann writes:
The maker's mark on Adriane Shuford's tankard is that of Emile or Jean Puiforcat. The other mark is the export mark used for small items from 1879 to 1973. Anyway the image isn't well readable and possibly the mark is that used after 1973.
Alessandro Colemann


In this column we present a page obtained from makers' brochures, books, auction catalogs, advertising or whatever other printed paper, related to silver, that may be of interest for ASCAS members.
The images will be published at a "low resolution" level and for private and personal use only
trade card of Spooner, Clowes & Co
This month ASCAS presents an advertisement in the Alexandria (Virginia) Gazette and Advertiser, published on June 10 1823.

The advertisement was published by


Gold & Silver-Smith,
Clock & Watch Maker

to inform the public of the removal of his shop to King Street, between Royal and Fairfax Streets....


Jewelry, Silver and Plated
Ware, &c.&c.
Also, in case elegant



In this column we present an abstract from a page of the "What is? Silver Dictionary" 
courtesy of home page
trefid spoon


Trefid spoon or Trifid is a flat-handled spoon having a stem that widens at the top and has two notches that form it into a three-lobed shape suggestive of a clef hind's hoof (hence the French term "pied-de-biche")
The trifid/trefid is the earliest English flatware "pattern" in which the stems of both the spoon and the fork were made to match. These spoons have the bowl with a rat-tail support and were usually engraved with initials or, sometimes, with a foliate design.....


In this column we present marks, information and history of silversmiths and silver manufacturers.
This column is published under the kind permission of Giorgio Busetto's website home page
A&Co into a pentagon  mark, Asprey&Co Limited, Chester 1905



A business which is supposed to have been established in 1781 at Mitcham, Surrey, by William Asprey (died 1827).

Francis Kennedy, c. 1804-c. 1841
Kennedy & Asprey, c. 1841-1843
Charles Asprey, 1843-c.1872
purchased the business of Charles Edwards, c.1857....


In this column we present books, new or ancient, dealing with silver in all its aspects (history, marks, oddities...). This isn't a "book review" but only a fair presentation of some useful "tools" that anyone may have in the shelf of his bookcase.
ASCAS members are invited to contribute to this column
(click to enlarge images)
The "book on my shelf" of this month presents:
Orfèvres, Villes, Régions, Dates
(The 6000 French silver Hallmarks during the king Louis XVI reign - 1774/1791)
Christophe Ginter
GINTER Editions, 13, rue du Palais, 41000 Blois, France

Les 6000 poinçons de l?orfèvrerie française sous Louis XVI (1774-1791): book

For the time being (November 2009), THE BOOK IS AVAILABLE ONLY IN FRENCH. The English version will probably be published in 2010.

A book written by Christophe Ginter, member of ASCAS, an author well known to our readers for his articles dealing with French silver

The ambitious intention underlying the publication of this book has been to provide a very large public with an useful tool for identifying marks struck on silver items during the French Louis XVI period (1774-1791).
Hall-marks are the main official devices for authenticating silver, they contribute to the determination of the origin, date and makers of collectable objects. Hence buyers and sellers, dealers and collectors, auction executives and many others should be very interested in this identification guide that is satisfying the following goals:
- Supplying the reader with an exhaustive record of the marks used in all parts of the French kingdom. It may be estimated that the representation rate of this guide (about 6000 marks recorded here) accounts for more than 95% of all marks struck on silver items between 1774 and 1791. Consequently, this book may be deemed the first general dictionary available for French silver at the former time of Royalty ("l'Ancien Régime").
- Addressing the marks according to their functions (the three first parts) this is a unique structure, as most discuss and display the marks within a regional format. Such an agenda (organizing by function) is extremely helpful for better identification of marks and for appraising reforms conducted under the Louis XVI reign for simplifying and harmonizing the French Hall-marking system.
- A fourth part presents some methodologies for identifying marks. Case studies are shown to support the usage of such methods. For example, the "expert methodology" quoted in this guide allows for an immediate identification of origins of an item, due to some "extraordinary marks" that may be found.
- The (ca. 3500) makers' marks described in this book commonly associate the name or initials of the maker with one or more symbols or devices. This guide provides a unique definition of these marks, allowing an instant match of the definitions with the marks observed on silver items. Furthermore, the reader will find in the book the official illustrated lexicon of the main symbols used by the makers for personalizing their own marks.
- Historical comments and explanations are written in a simple (but not simplistic!) way. The goal pursued here is to allow the reader to swiftly appraise and understand swiftly the relevant terms for describing the French Hall-marking system.
- And last (but not least!), I included in this guide some 1300 schemes and precise clichés that comply with the demanding requirements for completion of this guide. Finally, updated discoveries of marks that have never been represented before are displayed in this book.

A seven page abstract of the book is available in PDF format on ASCAS website click here

Sewn, paper-bound book 17 x 24 cm, 360 pages
Eventual order or information requests to be sent to:
Christophe Ginter, GINTER Editions,
13, rue du Palais, 41000 Blois, France
e-mail address:
ASCAS members receive a discount price by mentioning their ASCAS membership.
francais Un ouvrage de Christophe Ginter, membre de l'association ASCAS, dont les articles dédiés à l'orfèvrerie française de l'Ancien Régime sont bien connus de nos lecteurs.
Ce livre porte l'ambition de fournir un outil très complet permettant l'identification des poinçons (et par voie de conséquence l'authentification des objets). Il s'adresse à un large public: amateurs débutants ou confirmés (acheteurs ou vendeurs), experts et intermédiaires du marché de l'art (commissaires priseurs, marchands, antiquaires, brocanteurs, etc.). Il satisfait aux objectifs suivants:
- Répertorier de manière aussi exhaustive que possible tous les poinçons de cette période employés dans les différentes régions du royaume de France. Avec plus de 6000 marques recensées, le livre représente plus de 95% des poinçons frappés sur les objets en argent massif lors du règne de Louis XVI, ce guide est ainsi le premier dictionnaire général des poinçons de l'orfèvrerie française de l'Ancien Régime.
- Présenter au lecteur les poinçons selon leurs fonctions (les trois premières parties de l'ouvrage). Cette structure originale est d'une aide précieuse dans toute recherche d'identification de poinçons, elle permet ainsi de mieux appréhender les réformes initiées par l'autorité royale de cette époque, réformes qui tranchent singulièrement avec les pratiques des règnes antérieurs et qui avaient pour but de créer une plus grande harmonie des poinçons, permettant ainsi de faciliter leur reconnaissance.
- Une quatrième partie propose au lecteur diverses méthodes détaillées pour l'identification des poinçons. Des exemples sont donnés pour souligner tout l'intérêt d'acquérir cette méthodologie. La méthode dite experte fait découvrir au lecteur les "marques extraordinaires" qui permettent d'identifier aisément l'origine d'un objet.
- Ce guide expert donne une définition raisonnée des marques d'orfèvres. Ainsi, le lecteur peut rapprocher une observation de marque d'orfèvre (environ 3500 marques différentes lors du règne de Louis XVI) à la définition strictement écrite du poinçon. En d'autres termes, il n'a plus besoin d'obtenir confirmation du nom de l'orfèvre par une illustration (schéma ou cliché) dudit poinçon. En outre, l'auteur met un point d'honneur à présenter les modèles parfois exclusifs de marques d'orfèvres dans les différentes régions et fournit le lexique des symboles employés par les maîtres pour personnaliser leur(s) poinçon(s).
- Les commentaires vont toujours à l'essentiel, il n'en demeure pas moins qu'ils ne sont jamais simplistes, tout au contraire. L'auteur est soucieux de permettre au lecteur de s'approprier tous les termes de l'orfèvrerie de manière compréhensible.
- Des notes historiques, des commentaires ou un petit traité de sémantique propre à cette époque enrichissent le corps du texte, toujours avec l'objectif de donner au lecteur une information pertinente sur les pratiques entourant l'insculpation (la frappe) des poinçons.
- Enfin, 1300 illustrations confèrent à cet ouvrage son caractère sérieux et très complet. Tous les schémas sont des représentations à l'identique de poinçons observés, le livre donne également une grande place aux clichés de bonne qualité et illustre les "découvertes" les plus récentes en matière de poinçons jusqu'ici inconnus
Un extrait de 7 pages tirées de l'ouvrage est disponible sur le site de l'association (au format PDF) click here

Livre broché au format 17 x 24 cm, 360 pages
Commande ou demande d'informations auprès de:
Christophe Ginter, GINTER Editions,
13, rue du Palais, 41000 Blois, France
Les membres de l'association ASCAS bénéficient d'un prix réduit sur la vente de l'ouvrage, en faisant référence à leur appartenance à l'association.


In this column we present images and descriptions of Crests and Mottoes of British, Irish and Scottish families as engraved on silver items.
circular silver box with Buxton crest


A stag's head with the motto "DO IT WITH THY MIGHT".
The shield on the stag's neck presents a slave's head with a chain round his neck.
The crest is a later addition on a circular silver box dated London 1765.
The arms are those of Sir Thomas Fowell Buxton, an English member of parliament, who was made a baronet in 1840 in recognition of his work relating to the abolition of slavery.
The initials inside the cover relate to his descendants. FWB (Francis William Buxton) was one of his grandsons and he presented the box to his nephew and godson EGB (Edward Gurney Buxton) on the occasion of his 21st birthday (4/8/1886).
The circular box has a 9cm diameter and is similar to boxes usually identified as "Freedom boxes". It is fully hallmarked in the lid for London 1765 while the inside base just has the maker's and sterling marks. The maker is "EP", unfortunately quoted in Grimwade book as "unidentified (found in circular box and cover, 1775)".
The box still belongs to Buxton family and "EGB" was the grandfather of Simon Buxton who would greatly appreciate any information about the maker (possibly identified in more recent researches) and what the original purpose of this box would have been (tobacco box, perhaps).


Raoul Verbist died in Gent on August 3, 2009, aged 72.
Raoul Verbist was the President of the Silver Society of Belgium and one of the founders of ASCAS.
He was a great supporter of our Association and his help and encouragement was essential in the first phase of ASCAS activity. Raoul contributed to our web site with articles, members' windows, and information and is the author of LE POINÇON DE GRÂCE de 1750, the first article published by ASCAS in May 2004.
He continues to be present among us through his numerous works in the ASCAS web site.


Closing our December 2009 edition of ASCAS Newsletter I hope you have appreciated its content.
Your comments, suggestions and advice will be of great help.

My thanks to Paul Barclay, Alessandro Colemann, Jayne Dye, Piero Eduardo, Emil Fonfoneata, Christophe Ginter, Hugo Keymeulen, Robert Massart, David McKinley, Yvonne Riches, Willand Ringborg, David Rubin, RJ Spencer, Jan & Tony Spicer, André Van den Kerkhove, Emmanuel van Zuylen, Alan Yates, Oskar M. Zurell for their invaluable contributions.

Giorgio Busetto
ASCAS is a community of people having a common interest in antique silver.
It is a non-profit association without commercial links. Membership is open to whomever has 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 updating 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 its members' e-mail addresses, will not disclose the addresses to third parties, will use this information only to reply to requests received from members and for communications strictly related to its activity.
These rules are expressly accepted by submitting the membership request.
email:               SITE MAP