ASCAS Association of Small Collectors of Antique Silver         newsletter # 61 JUNE 2009     SITE MAP
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A new article for ASCAS website

  The Deutsches Klingenmuseum Solingen
Dorothea Burstyn presents:

Deutsches Klingenmuseum Solingen
2009 flatware collectors meeting
English version

The Solingen "14th convention of cutlery collectors and friends of table culture" took place at the Solingen Klingenmuseum on March 15th, 2009. The museum is located in Gräfrath, a quaint little town with cobblestones throughout, steep stairs up to a baroque church, charming little inns and a four star hotel - the Gräfratherhof, where one can spend the night for just Euro 65.00.......
click here English version

New members

Welcome to new ASCAS members:  

Tony Cranston - Ireland
Charles Deheselle - Belgium
Ilsiya Gloova - Russia
Agus Hartoyo - Indonesia
Brian Kidd - Italy
Jivo Jivkov - Bulgaria
Wayne Lau - Switzerland
Margie Laws Luke - USA
Linda Rowan - USA
Christine Wickizer - USA
top page - page map

Members' Window # 61

A 15 cl silver-plated creamer designed by Gio Ponti
Prof. David N. Nikogosyan presents

Marks of European Silver Plate: V. Krupp & Wellner, Italy English version

In the mid-twenties of XX century, the branches of two renown silver plate companies, Artur Krupp, Berndorf, Austria and August Wellner Söhne, Aue, Germany (see my recent papers in Silver Magazine) were opened in Italy, in Milan (Milano) and Florence (Firenze), respectively. I found my first Krupp Milano piece in Moscow antique shop in 2003. Pure art deco forms of this little creamer amazed me and I immediately bought it for about 50 US $. Later, I purchased a lot of later replicas of this item made in Berndorf (Austria), Esslingen (Germany), Lucern (Switzerland) during 1935-1980. .....     
click here
English version

Mail to ASCAS: e-mail

Sofia Ramos writes:
...I am wondering if your members can help me identify the purpose of this item (see photos). It is a tray (about 30cm x 24cm) with holders for 2 cups, a burner and a bowl. The seller thought it might have been used on a ship, hence the need for the items not to shift around on the tray. The marks show that it is Portuguese silver, I believe 1886-1938.
It was sold to me as a "port warming set" but I'm not convinced that this was really the purpose, as port is not generally heated, at least today, and it's unclear to me how it would have been done with the silver cups, or what the bowl would have been for.
Many thanks for any ideas you might have on this!
Sofia Ramos
I' have no doubt that this is a silver writing set. This is what writes Harold Newman in his Dictionary of Silverware:
"Inkstand, a desk stand for writing materials, made in numerous forms and styles, and supporting a variety of writing accessories, but the basic forms being as follows
(1) an oblong box, having a hinged lid .......
(2) a tray upon which rests an inkpot, pounce pot, sand-box, quill-pot and wafer-box .....
On the tray type, the inkpot was sometimes surmounted by a taperstick for use with the sealing wax.... The tray (triangular, rectangular, oval or canoe shaped) was sometimes supported by four small feet and was sometimes fitted with guard-rings or recesses in which to place the inkpot and pounce-pot, and in the center the bell or the taperstick; it was sometimes bordered by a pierced gallery....."
In my opinion an excellent identikit of this piece, but any other suggestion about its use, date and maker will be welcome.
Giorgio Busetto

Matteo Pierro writes:
...I'm researching information about this cutlery set found in a WWII German trench on Salerno's battlefield (1943). Each piece is marked "800", "KNIGHT" and bears a coronet (possibly Earl's) over a Heraldic shield.
Any suggestion about origin, maker and heraldic provenance of the set will be highly appreciated.
Matteo Pierro

Bruno Bruni writes:
...I'm trying to identify the maker of this silverplate cutlery set presented on October 17, 1894 to Masonic Brother Chas Norrington from the Beadon Lodge 619. The knives are marked on the blade G H W, S and EP.
Bruno Bruni
I didn't find this silverplate mark. In the hypothesis that the firm manufactured also sterling silver items I verified also the hallmarks registered at the Sheffield Assay Office. I found a quite similar hallmark (GHW into three squares) corresponding to George Harry Whitaker (later George H. Whitaker & Co), Pool Square, Fargate, Sheffield, registered on January 24, 1883. As the period of activity of the firm is coherent with the date that appears on the dedication plate I believe that the attribution of this piece to Whitaker can be considered probable
Giorgio Busetto

Wayne Robbins writes:
...I have had a wax seal for a number of years which I believe is made of silver. There are no maker's marks on it, as it is a very small object. When I purchased it, the seller represented it as a Russian seal. As you can see in the photos, it is a triple sided revolving seal and is dated 1856. One side has an image of a phoenix; the other sides are engraved; however, I have been unable to determine what the words represent.
You mentioned in the last newsletter that "some ASCAS members have a deep knowledge of Russian silver". I realize that some may be knowledgeable as to Russian silver marks -but may not be able to read Russian. I am hopeful that there may be someone in our group that may be able to interpret the words. Even if no one can, perhaps someone could direct me to one who would be willing to help me do so.
The photos had to be taken in the reflection of a mirror -so as to read them correctly.
I did take the seal to a Russian lady who could read Russian. She advised me that it may in fact be Russian, however she felt it may be what she called "old Russian" and she was not able to interpret the words.
In any event, I would be most grateful for any help you or other members may be able to provide.
Wayne Robbins

Lee Dougall writes:
...I love your site, and have just spent hours on it trying to find the hallmark of a silver ring I bought recently. I think it might possibly be Italian; perhaps early February 1934, so that it had a lozenge 'fascio' mark, but not yet an oval around the 800, but I'm not sure whether this was ever done?
I really hope I'm not imposing, but I wonder if you might have any idea of the age/origin of the piece.
Both hallmarks are VERY small, and difficult to make out with the naked eye.
If you did happen to have any thoughts on this that you wouldn't mind sharing, I would be very grateful to hear them!
Thanks very much for your help.
Kind regards,
Lee Dougall
I confirm. Your item is Italian, made about 1940 (800 was used with or without oval - see mark #5 at ).
If you are able to read number and province initials inside the lozenge I'll try to identify the maker.
Giorgio Busetto

Replies to questions

Diana Hamann receives this reply about her Russian candlesticks
(see May 2009 Newsletter)
Adam Goldsmith writes:
...Regarding Diana Hamann’s candlesticks, it is to be noted that assayer Aleksandr Vasilievich Romanov did not start working at the St. Petersburg assay office until April 1904; before that he was the assayer in Warsaw, Poland. Although B. Szkarlat has not been identified, he was definitely working in Warsaw, not St. Petersburg. He was probably related to and the successor of Szmul Szkarlat, a noted Warsaw silversmith and maker of Judaica working in the second half of the 19th century.
Charles C. Cage
Adam Goldsmith writes:
...The candlesticks that Diana Hamann queried are from Warsaw under Russian rule. The assayer AP was one of two assayers who worked in the 1896 – 1917 period. Schmuel Sklarat was a well known Warsaw silversmith especially for candlesticks and other Judaica related items who worked from 1860 to the very early 1900’s. What is unusual about this marking is that it is in Cyrillic as the majority of Warsaw silversmiths’ marks are in English. The style of these candlesticks are typically Polish.
Adam Goldsmith

Cristophe Ginter receives this reply about his mark of Belgian silversmith
(see May 2009 Newsletter)
Ludo D’Haese writes:
...La marque est celle pour Coosemans Théodore Joseph rue ‘t Kint 38 à Bruxelles. Périod: 07/01/1942 - ca 1958
Ludo D'Haese
Robert Massart writes:
...The maker's mark Cristophe Ginter was inquiring about in the latest Ascas newsletter is of Théodore Joseph Coosemans. This silversmith was active in Brussels and he used the barrel shaped mark from 7 January 1942 till c.1958.
Kind regards,
Hugo Keymeulen writes:
The mark T in letter C stands for Théodore Joseph Coosemans. Worked in Brussels from 07/01/1942 until 1958
The silver mark A900 in an oval stand for A = argent (silver) and 900 for the purity of 900/1000 silver
Hugo Keymeulen

Igor Peremislov receives this reply about his cutlery set
(see May 2009 Newsletter)
Charles C. Cage writes:
...Speaking of Warsaw silver, Igor Peremislov’s flatware has been identified in the 925-1000 silver forum as a Warsaw set assembled over the first quarter of the 20th century, by Adam Nagalski (1862-1944, working from 1894), and with various markings over the years, including Russian "kokoshnik" marks of 1899-1908 (again with Romanov as assayer), Polish interim marks of 1915-1920, and Polish state marks of 1920-1931. See this link for more information:
Charles C. Cage
Adam Goldsmith writes:
...I suspect that the silver cutlery that Igor Peremislov has is all from Poland from 1896 onwards. Warsaw was under Russian rule from 1850 to 1920 and they used the same markings as Russia. That the maker’s mark is in English and not Cyrillic lettering would support this. I have seen the strange S!84 mark before and suspect this was the transition mark from Russian to Polish marks in the early 1920’s. It was also not unusual for a family to build up a cutlery set over many years.
Adam Goldsmith

Anthony de Goutière receives this reply about his silver nef
(see May 2009 Newsletter)
Charles C. Cage writes:
...Anthony de Goutière’s nef is very typical of the extravagant silver reproductions made in Hanau, Germany in the late 19th and early 20th century. The psudo-marks on them have been attributed to Ludwig Neresheimer & Co. of Hanau, and the nef is quite typical of their work. You might direct him to Dorothea Burstyn’s excellent articles on your site: and
Charles C. Cage

Rudi Driessen receives this reply about his silver bracelet
(see May 2009 Newsletter)
Charles C. Cage writes:
...You are correct that Rudy Driessen’s bracelet is Dutch, but I think the date letter is “r” for 1876, not "i" for 1868; the two letters are very similar. The lion with "2" indicates the Dutch second silver standard of .833, and the "M" in Minerva’s helmet (or Perseus’ – the figure has been called both) was the mark of the assay office in Schoonhoven, active 1837-1984.
The maker’s mark, though, is shown upside-down; it should read "JL/20". It’s the mark of Schoonhoven manufacturer Jacobus Johannes Lazonder, working 1857-1880. He was from a large family of silversmiths including his grandfather Gerrit Lazonder, father Adrianus Haalbos Lazonder, uncle Johannes Marinus Lazonder and cousin Gerrit Lazonder.
Charles C. Cage
Hugo Keymeulen writes:
...answer for Rudy Driessen
Lion and 2 stands for standard silver 833/1000
Date letter "I" for 1868
The silversmith is J.J Lazonder worked in Schoonhoven 1857-1880 (the image is reverse and could be JL up 20)
The head towards left stands for the office town. The letter in the helmet should be M for the town of Schoonhoven
Hugo Keymeulen


In this column we present a page obtained from makers' brochures, books, auction catalogs, advertising or whatever other printed paper related to silver, which may be of 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 a set of advertising published in the 1890s by W. Gallimore & Sons, Sheffield.
The firm was established in 1822 and William Gallimore started electroplating in 1858. The firm was active as William Gallimore & Co in its Arundel Works, Sheffield from 1863 to 1891 when the style was changed to William Gallimore & Sons (became Ltd in 1923). The firm was still active in 1937.
Besides its production in nickel silver and brass the firm produced sterling silver items, registering marks at the Sheffield Assay Office in 1867 (William Gallimore & Co), 1890 and 1892 (Wm Gallimore & Sons).


In this column we presents an abstract from a page of the "What is? Silver Dictionary"
courtesy of home page
map of Scotland


The characteristic traits of a people are reflected in the quality of their art, and so it is with the history of the early Scotch silversmiths. The austerity and simple tastes of the Scotchman are brought to notice by the work of the early craftsmen. The majority of silver articles made were definitely for practical use, rather than for purposes of decoration. Most of the early Scotch silver was used in churches, or else in the gentle art of drinking.
It is interesting to note that in the earliest days of silversmithing in Scotland, it was the general custom for the client to bring his own silver or gold to the craftsman to be wrought at his order. .....


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:

The Antique Silver Reference Library uncovers a treasure trove of antique silver information for collectors, including many previously unknown hallmarks and silver marks.
Comprised of over 8,700 pages and 30 rare, privately published and out-of-print reference books, research manuals and museum works on antique silver and the silversmith trade. Many of these are being republished here for the first time.
This valuable collection of antique manuscripts has been meticulously scanned and digitized from original source documents.
Many of the books were privately printed in the late 1800’s and early 1900’s and in limited quantities of 175 copies or less for museums and private collectors, making them virtually impossible to purchase by the average person. The Antique Silver Reference Library DVD provides the exact same reference material found in these rare books, now available for scholars and silver collectors.
To learn more about this DVD visit
* A History Of English Silversmiths, Goldsmiths And Plateworkers And Their Marks Stamped On Plate (Over 2,500 Illustrations), W. Chaffers, 1899 (300 Pages)
* Abbott’s American Watchmaker And Jeweler, An Encyclopedia For The Horologist, Jeweler, Gold And Silversmith (Illustrated With 288 Engravings), Henry G. Abbott, 1898 (394 Pages)
* American Church Silver Of The Seventeenth And Eighteenth Centuries, The Museum Of Fine Arts Boston, 1911 (280 Pages)
* Ancient And Modern Gold And Silversmith’s Work, The South Kensington Museum, London, 1878 (650 Pages)
* Art Work In Gold And Silver, Henry Wheatley, 1882 (83 Pages)
* Catalogue Of An Exhibition Of Silver Used In New York, New Jersey And The South, R.T. Haines Halsey, 1911 (193 Pages)
* Catalogue Of The Silver Plate (Greek, Etruscan and Roman) In The British Museum, H.B. Walters, 1921 (164 Pages)
* Chats On Old Silver, Arthur Hayden, 1917 (432 Pages)
* College And Corporation Silver Plate, Wilfred Joseph Cripps, 1881 (176 Pages)
* Descriptive Catalogue Of The Collection Of Antique Silver Plate Of Lord Londesborough, Frederick Fairhotl, 1884 (111 Pages)
* Electroplating: A Treatise On How To Do It, William Barclay, 1912 (416 Pages)
* Gold And Silver, John Hungerford Pollen, 1879 (189 Pages)
* Hall Marks On Gold And Silver Plate, W. Chaffers, 1883 (484 Pages)
* Handbook To French Hall Marks On Gold And Silver Plate (Containing 372 Stamps), Christopher Markham, 1899 (85 Pages)
* Historic Silver Of The Colonies And Its Makers, Francis Bigelow, 1917 (525 Pages)
* Iroquoi Silverwork, An Anthropological Study Of Their Handicraft, M.R. Harrington, 1908 (48 Pages)
* Jewelry Making And Design: An Illustrated Textbook For Teachers, Students Of Design, And Craft Workers In Jewelry, Augustus Rose, 1917 (527 Pages)
* Manual Of Assaying Gold, Silver, Copper And Lead Ores, Walter Lee Brown, 1889 (525 Pages)
* Meriden Silver Plate Company Catalogue of 1883, Meriden Company, 1883 (89 Pages)
* Old English Pattern Books Of The Metals Trade, 1913, (96 Pages)
* Old English Plate Decorative And Domestic (122 Illustrations, 2,500 Plate Marks), Wilfred Cripps, 1894, (484 Pages)
* Old French Plate, A Handbook For The Collector, Wilfred Cripps, 1880 (149 Pages)
* Old London Silver, Its History, Its Makers And Its Marks, Montague Howard, 1903 (446 Pages)
* Old Plate, Its Makers And Marks, J. Buck, 1913, (368 Pages)
* Old Silver And Old Sheffield Plate, Howard Okie, 1928 (469 Pages)
* Oriental Silverwork: Malay And Chinese (With Over 250 Illustrations), H. Ling Roth, 1910 (320 Pages)
* Sheffield Plate, Bertie Wyllie, 1920 (242 Pages)
* Silverwork And Jewellery: A Textbook For Students And Workers In Metal, John Hogg, 1903 (369 Pages)
* The Assayers Guide: Practical Directions To Assayers, Miners, And Smelters, Oscar Lieber, 1852 (161 Pages)
* The Practical Jewellers Instructor, George Gee, 1877 (310 Pages)
* The Wonders Of Engraving On Silver, Metalwork, Wood And Other Materials, George Duplessis, 1871 (377 Pages)
* Useful Alloys And Memoranda For Goldsmiths And Jewellers, 1906 (120 Pages)


ASCAS website offers to its visitors about 300 pages of articles, information and images about the matter of common interest. To make easier your website's navigation I'm arranging an organized SITE MAP classified by subject matter. My work is still in progress, but the new tool is yet available to ASCAS readers, click here.
Your comments and suggestions will be welcome.

Don't forget that ASCAS offers also an internal engine supplied by google for your researches inside our website

Closing our JUNE 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 Bruno Bruni, Dorothea Burstyn, Charles C. Cage, Ludo D’Haese, Lee Dougall, Jayne Dye, Hugo Keymeulen, Robert Massart, David N. Nikogosyan, Matteo Pierro, Sofia Ramos, Wayne Robbins, 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.
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