Christine Erratt presents:
From Villa Adriana to Australia
Australian Open Tennis Tournament Trophy
On 1st February this year, twenty two year old Spaniard
Rafael Nadal won the 2009 Australian Open Tennis
Championship in front of an enthusiastic crowd -
enthusiastic both for the champion and the runner-up,
Roger Federer of Switzerland. There was a huge
television viewing audience also. They battled each
other for over four hours for the title - and for the
trophy and prize money. The Australian Open is one of
the four Grand Slam Tournaments along with the French
Open, Wimbledon and the US Open........
Welcome to new ASCAS members:
Robert P. Barry - USA
Lazar Freidgeim - USA
Kathleen Geyer - USA
Christopher Sly - Argentina
Joanna Thomson-Zane - USA
Alan Weber - England UK
Members' Window # 62
Robert Massart presents
Silver Mustard Pot - London 1798
Antique late Georgian cylindrical mustard pot, made of
solid sterling silver, with original cobalt blue liner,
assayed in London 1798 by the silversmiths Samuel
Godbehere, Edward Wigan and William Abdy II......
Francois C. writes:
...I get 11 knifes the handle are in full silver and the blade
are forged in steel. Nine of them probably arrived from Italy,
Venice end of the 18th century as beside the winged lion marks
they have another mark, three crescent moons between an F and
G. The other three, same model, are younger I think!
If hope that somebody can say to me the age and the name of the
silversmith of the 2 kinds of knifes.
these are the information I found about your marks:
- lion: is one of the shapes in use in Venice in the 17th and
18th centuries until 1810
- horse's head: is the mark used in Venice from December 25,
1810 until 1872 c. to identify silver items made before 1810
- FC with three crescent between: is mark #163 in Piero Pazzi
book. Used at the end of the 18th c. beginning 19th c. (date
1805), possibly belonging to an unidentified assayer
-round mark DG with a flower between: it's a maker's mark not
present in Piero Pazzi book nor in Donaver-Dabbene.
Malcolm Rice writes:
I read and enjoyed the very interesting article on fraudulent
mote spoons by David Mckinley (see
May Newsletter). I would, however, have reservations where
he says he has experimented with tea and does not think mote
spoons were used to scoop motes from tea cups. I wonder what
sort of tea was used for the experiment.
During my working life I travelled extensively through India and
the Far East and quite often bought tea from local tea merchants.
That tea contained leaves which had been very roughly cut so
that it was possible to get a tea leaf a third or a quarter the
size of a whole leaf, more than large enough be apprehended by a
mote spoon should the leaf escape the teapot and I suspect 18th
century tea to be of the same roughly cut sizes rather than the
dusty item we are presented with today.
Moira Merryweather writes:
...I came across your site while researching a dish that
belonged to my grandmother. She was a governess (1910s) to the
children of a family whose father was Count Sollohub attached to
the Imperial yacht 'Standart'.
The dish is 22cm across with ivy leaves and acorns (?)
decoration. It stands on 3 feet and has a handle. On the back of
the central metal part is stamped Fraget N Plaque in an oval.
Above that is a double-headed eagle and below another image
which is indecipherable. There are also the numbers 1164.
I don't know how my grandmother obtained the dish - maybe it was
a wedding present - but I will treasure it. Only a few items
came back from Russia when she had to leave Odessa suddenly
because of the Bolshevik advances and it was considered too
dangerous for the Britons to stay. Sadly my grandfather, who was
working for the British Consulate in Vladivostok never returned.
He contracted smallpox and died in 1924. I never met my
grandmother as she died long before I was born but through
research I have found out much about her life in Russia.
I would love to find out more about this dish and wonder if you
can point me in the right direction.
Any help would be very much appreciated.
These are the information supplied by Prof. David Nikogosian:
This little basket was made in Poland (in that time part of
Russian Empire) in 1896-1915 by Fraget.
The inscription FRAGET N PLAQUE means Fraget silver plate on
Alpacca (nickel-copper-zinc alloy).
In the small oval there is the coat of arms of the coppersmiths’
corporation (two crossed hammers with a pair of compasses). The
coat of arms of the Russian Empire (double-headed eagle) on the
mark means a gold medal at the All-Russia Exhibition of
Manufactured Goods or the sign of the official purveyor to the
Court of His Majesty Russian Tsar.
Further details on Fraget factory are in my member's widow:
Prof. David Nikogosian
Joanne Nikides writes:
...We have two trays that belonged to our great uncle. One is 7
3/4" by 10", and has no handles. The other is 27 1/4" by 18
1/4", and has handles. Both trays have the same "insignia/stamp"
on them, at the middle of the left edge. The insignia/stamp
measures 1/4" by 3/16" and says "BACHMANN ALPACCA" with a bird
in the middle, separating the two words. The "BACHMANN" is on
top and the "ALPACCA" is on the bottom.
We have some information about Berndorf metalwork factory which
developed the alpacca alloy, but we don't know how Bachmann fits
in, and when and where this tray might have been made.
Could you help us with information or references?
Dennis Rogers writes:
I contacted you earlier this year to ask about my late
Father-in-law’s watch plus my late Sister’s napkin ring. You
responded with a wealth of information for which I am genuinely
Another item has been found in my late father-in-law’s
possessions for which I seek your knowledge.
This is not a small item. It is a trophy cup won by a horse
(trotter I think).
I have searched your database and think I have identified some
of the markings under the base but I am uncertain. There are
JD & S but these are all separate, not within a shield.
EP, which could be Edward Power or Edward Pairpoint
he third image has be baffled. It appears to be a tree inside a
shield. I cannot find any reference to this.
There are two other numbers but these I suspect are item or
catalogue numbers. There is a 3 above the images and M869
beneath the images.
I have attached some photographs of the cup and the under-base
images for your examination which should assist.
The cup is engraved 1906 and Bethungra is a town in NSW,
Australia. This may give you a clue as to its maker.
Bethungra is about 20kms SW of the larger NSW town of
Cootamundra. From Sydney the total distance is 415kms and takes
just over 4 hours to drive.
The trotter was named Lady Forest and was owned by J.H.
Cavanaugh was my late mother-in-law’s maiden name and the cup
came from her side of the family. I am not sure if the cup was
her father or perhaps one of her uncle’s but I do know they were
involved in the Trotting industry in those days.
The cup (to the lip) is 23cm tall (26 cm to the top of the
Diameter is 12cm (22cm with the handles). Weight is 835 gm.
The handles have a ram’s head at their apex.
The silver appears to be plated over some other metal (pewter?)
and it has eroded in numerous places. The scrollwork and design
work is intricate, unlike the more plainer designs of today.
The maker of your cup is James Deakin & Sons, Sheffield (UK).
EP signifies Electro Plated (silver) see information about the
maker in my website at
By the way, the "tree inside a shield" is a table bell (of the
type used in the desk of hotel's reception)
The maker is Louis Weill & Henry Harburg, case makers,
mark registered 1876, defaced 1879. The case is marked London
1876. Some information about the maker:
Louis Weill commenced his business in 1863 c. until 1876 c.
In 1876 entered in business with Henry Harburg. In 1879 Weill &
Harburg had as partners L. Weill, H.Harburg and Charles Feis as
wholesale and export watch manufacturers in London (Holborn
Circus) and Chaux de Fonds, Switzerland.
Chronology of the firm: Weill & Harburg (c.1876-1890), Louis
Weill (& Co) (1890-1896), Weill & Co (1896-1919), Arthur Mayer &
L. Weill (c. 1919-1928), Arthur Mayer (1928).
John J. Yale writes:
...I’d be grateful if you could cast your eye over the attached
pictures. I assume that this is Milan 800 silver from about
John J. Yale
You are right: the marks of your holywater font belong to
Lombardo Veneto. The maker is Bozzolo Saverio, active c.
Further information about Lombardo Veneto marks (Milano) in my
and further holywater fonts at
H. Dinerstein writes:
...I attach photos of a silver object marked 'AR' twice which is
6 1/2" long and 1/2" wide at its widest point and weighing 13
grams. Each end is decorated with pierced leaves and flowers. I
have no idea what it was used for. Perhaps you can help.
Any suggestion (a bookmark?) will be welcome
Christophe Ginter writes:
...I would like to identify the marks of two items:
- first item = "crowned double symbols" and "a Q (warranty ?)
and HLB (maker's mark)"
- second item = "an identical crowned figure" "P" and "maker's
mark = BARTH"
I would think for Dutch hallmarks.
Thank you in advance for your help.
Another challenge for ASCAS members well acquainted with
Replies to questions
Wayne Robbins receives these replies about his "Russian"
(see June 2009 Newsletter)
David Nikogosyan writes:
...I know the key to the puzzle presented by Wayne Robbins,
this seal carries some lettering in Armenian. This seal is
probably made not in Russia, but in Turkey, Syria or Iran, where
significant Armenian colonies existed at that time.
My relative told me that on both sites of the seal in the centre
the same name is inscribed:
Murat (or Mourad in Arabic), once in capital letters, once in
Hope it will help. David.
Bronia Wulich writes:
....I did some research about the seal of Wayne Robbins. My
1. The language of the seal is definitely not Russian. Not
modern and not old Russian
2. There is a number 272, also in Arabic - see the first picture;
3. There is a word written in Arabic, probably meaning "original"
- see the second picture;
4. The rest of the letters are probably in Armenian.
"A PAGE per MONTH"
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
This month ASCAS presents the sign of Andrea Pasina
silversmith workshop "Al Leon d'Oro" (The Golden Lion)
active in Verona (Republic of Venice, Italy) in 1764.
In the workshop were present, besides the master Andrea
Pasina, four plate workers:
Giovanni Battista Scartesini,
Pietro del Fior,
and three apprentices:
"A WORD per MONTH"
In this column we presents an abstract
from a page of the "What is? Silver Dictionary"
An ex-voto is a votive offering to a saint or
divinity. It is given in fulfilment of a vow (hence the
Latin term, short for "ex voto suscepto", or "from the
vow made") or in gratitude or devotion. Ex-votos are
placed in a church or chapel where the worshipper seeks
grace or wishes to give thanks. The destinations of
pilgrimages often include shrines decorated with
"A BOOK ON MY SHELF"
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
LATE GEORGIAN AND REGENCY SILVER
by Judith Bannister
Country Life Collector's Guides
The Hamlyn Publishing Group Limited 1971
A commentator wrote:
The period 1775-1830 is perhaps the most sumptuous in the
whole of English silver. It began with the classical
design of Robert Adam and ended with the grand
extravagancies of the Regency. The far-reaching
changes in social life brought by the industrial
revolution began to touch the ancient craft of the
London silversmith, threatened for the first time by
mass-production in such provincial centres as Birmingham
and Sheffield. But the craftsmanship triumphantly
survived, not only in the splendidly ornate presentation
pieces for officers in the Napoleonic wars, but also in
the elegantly simple domestic silverware found in an
increasing number of dining-rooms, drawing-rooms and
boudoirs. The book ends with an illustrated section of
the hallmarks of the period, including the rare duty
"A CREST per MONTH"
In this column we present images and
description of Crests and Mottoes of British, Irish and Scottish
Families as engraved in silver items.
STUDDART or STUDDERT or STODDARD
An Irish (Studdart or Studdert) or a Suffolk (Stoddard) family: the crest is a demi-horse, rampant,
body environed by a ducal coronet and motto REFULGENT
IN TENEBRIS (They glitter in the dark).
Crest represented in a dish and cover, Daniel Smith and
Robert Sharp, London 1782
Closing our JULY 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 Dominique Bochet,
Alessandro Colemann, Jayne Dye, H. Dinerstein, Christine Erratt,
Christophe Ginter, Martin Healy, Peter Lockett, Robert Massart, Moira
Merryweather, Joanne Nikides, David N. Nikogosyan, Malcolm Rice,
Dennis Rogers, Bronia Wulich, John J. Yale, for their invaluable
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
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and ignores and is not responsible for any other
activity pursued by its members.
Likewise, ASCAS is not responsible for opinions,
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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.
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These rules are expressly accepted by submitting the