ASCAS Association of Small Collectors of Antique Silver        newsletter # 66 NOVEMBER 2009     SITE MAP
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A new article for ASCAS website

Sugar tongs with bulbous - shaped arms
Dorothea Burstyn presents:

Collecting Austrian silver sugar tongs English version

.....While English sugar tongs are available in a wide variety of styles and in abundance from the early 18th century on, the collector of Austrian sugar tongs is limited to 19th century production from about 1820 to 1880, because a) due to the draconian laws during the Napoleonic Wars very little old silver escaped the melting pot and b) towards the end of the 19th century silversmiths did not regard sugar tongs as single serving pieces anymore but fashioned them as part of tea-and coffee sets or larger flatware services......

click here English version

New members

Welcome to new ASCAS members:  

Deb Andrison - USA
Erica Azimov - USA
Gerald Bartley - England UK
Margaret Bartram - Canada
Robert Butler - USA
Simon Buxton - Australia
Kate Cook - USA
Jeff Cullen - USA
Maria Entrup-Henemann - Germany
Jurg Gassmann - Switzerland
Jill Hedgren - Sweden
Shawn Holatko - Canada
David Joyce - England UK
Andreas Romanos - Belgium
Larry A. Sauer - USA
Florence Vivien - France
Alastair Wilson - England UK
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Members' Window # 66

Chess World Championship spoon
Wayne Bednersh presents:

The Fischer Chess Spoon Story English version

At the 2001 National Spoon Convention in Colorado Springs, Erwin Goldman convinced me to acquire this unusual spoon and to write an article about it. Therefore, this article is dedicated to Erwin Goldman.

The pictured spoon is a heavy 5.75" art deco style sterling spoon made about 1972. Sterling spoons were not hot collectibles during that time period so it is rather unusual to have a sterling spoon commemorating any event. This spoon, however, commemorates the very famous cold war Chess World Championship between American chess genius Bobby Fischer and the Russian Grand Master Boris Spassky which was held in Reykjavik, Iceland......      
click here
 English version 

Mail to ASCAS: e-mail

Piero Eduardo writes:
...Caro Giorgio,
I collect pipes and I'm trying to find further details about an ancient sea-foam pipe with silver ring. The pipe's container is marked has a Peterson's Patent and I know that its " Patent" mark was used from 1865 to 1910. I'm unable to identify the maker of the silver complement (WHC inside an oval. Possibly W.H. Handsworth of Birmingham?).
Any suggestion will be highly appreciated.
Piero Eduardo
The silver mark in your pipe belongs to W.H. Carrington & Co, 53 Thomas Street, Manchester. This mark was registered in Chester in 1888 c. and in Birmingham Assay Office on April 24, 1891. The firm was identified by Chester Assay Office as "Tabacconist and fancy goods dealers".
Giorgio Busetto

Michael Shatkin writes:
...I'm looking for who made this set. Thanks for your help
Michael Shatkin
Any suggestion will be welcome
Giorgio Busetto

Christophe Ginter writes:
...Please find herewith a Belgian maker's mark found on an item with Belgian hallmarks from Gent (Gand), dated 1777. Maybe one Ascas fellow member may advise me who is this maker and when he was active (from registration until end of activity).
Thank you in advance,

Adriane Shuford Crosland writes:
...I have used your site for many years, and find it so useful! I have a mark (images attached) that I cannot interpret. Any information on maker/date/origin would be appreciated.
Thank you for any help you can provide.
Best Regards,
Adriane Shuford Crosland
The help of ASCAS members will be greatly appreciated
Giorgio Busetto

Peter Lockett writes:
...I need the help of members to identify the mark on a dognose fork. The fork was purchased in a small group of pieces of which all but this fork have 18th century Belgian marks.
Peter Lockett

Dominique Bochet writes:
...I'm reserching information about the marks of this fork.
Merci à tous pour votre aide
Dominique Bochet

Erica Azimov writes:
...I am new to collecting and I have 2 sets of Hallmarks that I am having a hard time figuring out. I wasn't sure if I sent pictures if there is a way to see if anyone can help me out. I have attached the pictures just in case.
Thank you
Erica Azimov
I believe that the first mark (on the left) is, possibly, a mark of Corbell & Co (see information in my private website at ).
I'm unable to identify the other mark. I trust in the help of ASCAS members.
Giorgio Busetto

Giovanni Ciceri writes:
...I have this silver and agate compact with Russian hallmarks.
The weight is a combined 116 g. Dimension: 7.6 x 6.7 x 2 cm.
It is hallmarked inside in all the detachable parts and outside on the final that seems to be gold or gilded silver. It is partially gilded.
The quality of the compact is very good and the condition is quite good too. I think that in the four halls inside the compact it was originally enamelled (but I’m not sure).
I’d like to know the origin, age and silversmith.
Other images are available in my website at
Thank you
As you well know, the marks appear to be those of Karl Fabergé, but on the market there are many forgeries about this silversmith. It's beyond my level of knowledge to express any opinion about the authenticity of your piece and I trust in the support of other ASCAS members with a superior acquaintance in this matter
Giorgio Busetto
The item has many hallmarks. Each hallmarks looks as Faberge's marks. Sankt-Petersburg/ 94 - sterling, 56 - gold. But the quality work looks not as Faberge. Market is offered many fake item with original Faberge's hallmarks. An expert must look the item.
Lazar Freidgeim

Derek Jones writes:
...When I purchased this case, I thought that it was just a normal card case to add to my existing collection , but then found out that it was rather unusual in that there were 4 small compartments into which something slid, and held in place with springs, of which 2 are missing. The case itself is spring loaded, hence held open with a toothpick.
The case is 75mm x 50mm, and the max. size card that can be slipped into the 4 slots is 60mm x 20mm.
Normal card cases take cards from 60mm x 40mm to 75mm x 40mm.
The case is marked London, 1900, by George White & Co.
Your help or that of my fellow members would be greatly appreciated,
Best regards,
Derek Jones

David Dubin writes:
...Could you please help me with some information on a coffee can that I picked up in Germany in the 70s that was manufactured by August Wellner and Sons? I believe that it was made for the hotel Kummelbacherhof sometime around 1910 - 1920 and that it is either pewter or silver-plated copper. Would you be able to tell me when it was made, what the material is and any other information about it that I should know? The piece is about 18 cm tall to the button on the lid and about 9 cm wide at the base. I have attached three photos of the can for you.
I greatly appreciate any assistance that you are able to give me.
Thank you very much in advance for your time and effort on my behalf.
Kindest regards,
David Dubin
This coffee-pot was made between 1915 and 1920. It was made from silver-plated Alpacca (Neusilber). The handle is very characteristic for high-quality Wellner items made in 1915-1930.
David Nikogosyan

Jayne Dye writes:
...Identification of the maker will be very much appreciated. British, I believe.
Thank you to all the readers who answer these questions.
Jayne Dye
I'm unable to identify your mysterious mark. I trust in the help of ASCAS members for its identification.
By the way, the Elkington marks is dated 1957 (see my website at
Giorgio Busetto

Replies to questions

Peter Barnes receives these replies about his wine tester 
(see October 2009 Newsletter)
silver taste vin silver taste vin
Christophe Ginter writes:
I am pleased to give you the (full) information regarding the Peter Barnes's wine-taster. The following hallmarks may be read on the item:
(1) a CC under a crowned fleur de lys and over a star for the silver maker Charles Louis CAFFIN, appointed in Thouars in 1763, active until (at last) 1784,
(2) a crowned A over a T, is a warranty mark used in Thouars from 1777 until 1781. This mark gives the date for this item,
(3) a crowned G (partly erased) which is a "Charge" mark (equivalent to submitting the item to the tax authority). This mark was used between 1775 and 1781 in a western part of France, with headquarters in Poitiers. I may guess that our ASCAS fellow members should feel difficult to locate the town: please find herewith an attached map of France for locating Thouars and Poitiers.
(4) the fourth mark that cannot be properly distinguished on the image should be the "Discharge" mark in the same region, period 1775-1781. This mark is the last mark to be struck on the item, it means that the tax has been paid (hence "discharging" the item for a further submission to the tax authority). The discharge mark is probably a "cat" (see attached image).
map of France  discharge mark 
Mario Galasso writes:
about the tastevin of Peter Barnes:
the image isn't well readable, anyway two marks are identifiable:
- the maker (CC over a star and under a crowned fleur de lys and aside two "grains de rémede") is Charles-Louis Caffin, active from 1763, garde in 1784 of Thouars;
- A T with a crown at the top is the mark of the communité of Thouars from 1767 to 1781.
Bibl. Helft, Les poinçons des provinces françaises, Paris 1968
Mario Galasso

Peter Barnes receives this reply about his Swedish beaker 
(see October 2009 Newsletter)
silver beaker silver beaker
Kari Helenius writes:
Peter Barnes asked for identification of the marks of his Swedish beaker. The beaker was made in Stockholm in 1753 by Lorens (Lars) Eriksson Stabeus 1745 - 1778
Willand Ringborg writes:
Master is Lorents (Lars) Stabeus, working as silversmith in Gothenburg since 1729, 1735 master, worked from 1745 in Stockholm, alterman in the Stockholm Goldsmiths Guild 1761-70. Well-known, high quality works-of?art, represented in several churches and museums. Produced mainly corpus items.
The decorative sig-sag pattern is a scratch made by the assay-master for silver fineness proof.

Peter Barnes receives this reply about his Scandinavian hovedvandsaeg  
(see October 2009 Newsletter)
silver hovedvandsaeg silver hovedvandsaeg
Kari Helenius writes:
I found two makers from Demark with the mark OLSEN.
One from Odense Fredrik Vilhelm Olsen born 1833 and active 1857 - 1890
The other from Nyborg, Poul Olsen born 1797 and active 1824 - 1862
I could not recognize the town mark or date mark
I hope that this is of help.
Best regards

Peter Barnes receives this reply about his dresser jar 
(see October 2009 Newsletter)
silver dresser silver dresser
Mario Galasso writes:
About the dresser jar. If the code number on the "old man" mark is 85 (Paris), I believe that the maker's mark is M.J.G.G. (and not M.J.C.C.). If so, the maker would be Genu Marie-Joseph-Gabriel, Orfèvrerie: la belle argenterie, 24 rue des Fossés-St-Germain-l'Auxerrois. Insculpation Paris 20 decembre1788, biffage 1811 (Almanach azur: Genu veuve). N. Prefecture 107, n. garantie 85.
Bibl. Arminjon et alii, Dictionaire des poinçons de Paris et de la Seine, 1798-1838, p.267, n. 02653, Paris 1991.
Beuque vol II, 1929
Markezana 2005
Mario Galasso
Dominique Bochet writes:
Il s'agit du maître orfevre Marie-Joseph Gabriel GENU, Paris période 1er Coq, 1798-1809, grosse garantie
Dominique Bochet

Paola Continella receives this reply about his fork 
(see October 2009 Newsletter)
Kingdom of Sardinia silver fork Kingdom of Sardinia silver fork Kingdom of Sardinia silver forks: mark Kingdom of Sardinia silver fork: mark Kingdom of Sardinia silver fork: mark
Mario Galasso writes:
About the fork of Paola Continella, if the mark is only a "P" (without any other symbol or dot) the maker is Henri Potin (not Poton Enrico as erroneously written in Donaver's book), registered in Chambery, August 23, 1847, Etat des orfèvres n.26, son poinçon un P (fonds Sarde ADS 20 99).
Bibl. C.G. Cassan, Les Orfèvres de Savoie, on the magazine Art et curiosité n. 80, September 1980 and Donaver Dabbene Voll.I e II, Milano 1989
Mario Galasso

Fritz Guercke receives this reply about the marks of his spoon 
(see October 2009 Newsletter)
silver spoon silver spoon
Oskar M. Zurell writes:
Spoon is a server - Plated - all silver mark's of that time be missing here
. Pattern style typical Danish of that time after WW I.
All shown marks should be observed vertically:
First mark isn't an anchor but symbolises «Thor's» (an ancient German god's) hammer: That mark was sign of private Danish Trade Promotion Association «Landsforeningen Dansk Arbedje» (Promotions signification: «Quality Product - Made in Denmark» and «Buy Danish Quality Products») from 1908 on - with promotional activities for all kind of Danish products - not only for Silver or Plated - in Denmark and abroad. «DA» is since 2002 part of a Danish merger for Worldwide Trade Promotion.
3 Stars: It's a symbol in similarity to 3 towers, Cohr's signification of her «Plated» quality - from 1926 on traded as ATLA (signification: strong surface and resist use attacks), Cohr's trademark.
CMC (last C in reverse position): Carl Madsen Cohr, Fredericia - this mark was in use on both, Silver and Plated, from 1893 until 1937. «Cohr» itself exist 50 years more; but had finally to suspend the payments and was closed 20 August 1987.
Resume: This server is produced by C.M. Cohr in Fredericia, Denmark. Artist and Pattern actually I don't know. Spoon's production was between 1921 and 1926.
In Denmark this kind of server spoon is called "Potageske"; be used to serve potage, porridge ... Your "Potageske" has a length of 37 cm. I've found a Private Collector's Site; there length differ between 36 cm and 40.7 cm - and it seems that they call soup ladle "Potagesk" to:
Additional information, taken out of:
At this time Cohr was the largest silverware factory in Denmark and used several well known artists: Eduart Eggeling, Knud V. Engelhardt, Sigfred Wagner, Mogens Koch and H.F. Gross.
In Denmark - when Cohr started 1921 her plated product range in flatware and hollowware - didn't exist a nationwide symbol for this. Some times later were used the letter P (in a circle, signification = Plet = Plated) and introduced the «Two towers» mark, to be used by all Danish producers of plated products. That's failed until 1929, because there wasn't any guarantee of similar quality standard.
DS - Danish Standards Association Founded in 1926. Denmark's national standardisation body. DS marking is the visible evidence that a product meets the requirements laid down, for instance, in a standard covering the particular product group. Cohr used DS marking from 1931 on.
Torch mark FDG: In 1929 the "Common Representation of Danish Goldsmiths" (FDG = Fællesrepræsentationen for Danmarks Guldsmede) registered the "Torch mark" as a trademark and wanted it to be used as a quality mark for silver plated sold by the members only.
Torch mark: Quality mark for silver plated. Used by the "Organisation of Silver plate Manufactures" ("Foreningen af Sølvpletfabrikanter") after they took over the rights to the torch mark from FDG about 1932.
Oskar M. Zurell

Claudio Morelli receives this reply about his silver-plate item
(see October 2009 Newsletter)
unidentified silverplate item unidentified silverplate item
unidentified silverplate item unidentified silverplate item
Ian Cook writes:
I believe I may be able to help Claudio Morelli quest in identifying his object.
I would like to submit that the piece is a butter knife in an early style (Georgian c1790s) which has been later copied. The marks point towards the piece being made by John Harrison & Company (Sheffield) between 1866 and 1891.
Ian Cook

Della Green receives this reply about his pieces
(see October 2009 Newsletter)
unidentified Oriental silver unidentified Oriental silver unidentified Oriental silver
unidentified Oriental silver unidentified Oriental silver unidentified Oriental silver
Hada Shamma writes:
The items are an incense burner, a food server, these pieces usually come in sets. What you have here may not be silver but a white metal, known as alpaca silver. There’s also a possibility that the pieces are silver plated copper. These are not Iranian but Moroccan pieces, notably identified by the markings.
The writing says that this is manufactured by Dar Al Suyooz, the workshop it was created in. There is a name Othman but the rest is unclear. It says it has been registered as well.
Hada Shamma


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 1823 trade card of Spooner, Clowes & Co of Newmarket Street and Great Charles Street, Birmingham.

The firm, subsequently Spooner, Painter & Co advertises its
Silver & Plated Wares
Table Services, Epergnes, Plateaus &c,
Bread, Cake & Fruit Baskets
Candlesticks & Branches
Liquor, Cruet & Soy Stands
Dishes, Tureens, Salts &c.
Snuffers & Trays, Toast Racks
Bottle Stands, Wine Strainers, Elegant Waters & Tea Trays
Tea & Coffee Services, India Shads & Branches
Paris & Other Lamps



In this column we present an abstract from a page of the "What is? Silver Dictionary" 
courtesy of home page
hallmarks on duty dodgers coffee pot



In England duty has been paid as a tax on silverware since 18th Century. The tax was paid at the time of assay, and the amount due related to the weight of the article. From 1784 until 1890 a mark with the head in profile of the Sovereign in escutcheon was punched on articles to attest that the excise dute had been paid.
"DUTY DODGER" is the definition of unscrupulous silversmiths that used several methods to avoid paying the tax:
- inserting into a new article an existing set of hallmarks removed from an old piece;
- stamping his own makers mark four times to simulate hallmarks and then distorting them (especially on spoons) so that an unwary buyer might think them to be official marks of the Assay Office;
- inserting into a large piece a small disk bearing marks from an article on which a low tax had been paid.
Duty Dodger is also the definition applied to a piece so altered and considered fake and illegal.....


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 Mappin & Webb advertisining dating to 1919


Joseph Mappin founded in 1810 a trade as engraver in Fargate, Sheffield. This concern passed to one of his sons and finally the engraving business came to an end.
Another son of Joseph Mappin (he too called Joseph) carried on the business of the cutler in Sheffield (Norfolk Street).
He died in 1841 and till 1846 the firm was managed by his son Frederick Thorpe Mappin who took his brothers in the business and the firm became Joseph Mappin & Co.
In 1846 the business was amalgamated with that of William Samson & Sons changing to Mappin Brothers.
Its partners were the founder's four sons, Frederick Thorpe Mappin, Edward Mappin, Joseph Charles Mappin and John Newton Mappin.....




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:
Old Plate, Its makers and marks, book New York 1903
The author writes in book's preface:
It is the object of this new issue of Old Plate to attempt a description of some of the many examples of silverware to be found in various parts of the country, made not only by foreign but by native craftsmen, and to endeavor trace more especially the names and abodes of the latter.
Prof. T.S. Woolsey, of Yale University, writing in Harper's Magazine, urges the importance of investigating more fully the subject of American silversmithing.
English silversmiths emigrated to this country and did as good work here as at home. As we learn the names and marks of these men, and can thus identify their work, why is it not, for us at least, as valuable and interesting as any other? What we need is a careful list of such workmen, with their dates and the marks they struck... But it needs a vast amount of work. The town records should be searched on the one hand, and thousands of examples of American-made plate should be catalogued and collated on the other, as Rosemberg has done for Germany. When we are able to identify the makers' marks of nine-tenths of the American-made plate treasured by our Colonial families, thus learning where and between what dates it must have been made, it should have in our eyes a value such as no foreign plate of the same age can boast.....

The Fourth Chapter " American Silversmiths" is freely available in PDF format in ASCAS website click here


In this column we present images and description of Crests and Mottoes of British, Irish and Scottish Families as engraved in silver items.
old sheffield plate buttons with crest of Craddock and others

CRADDOCK or CRADOCK and others

An Irish family. The crest is a lion rampant, between paws a ducal coronet
A similar crest was used by English families: Beseley, Besley, Besly, Ford of Ellen Hall (Lanc) and Roper
The crest was found in a set of old Sheffield Plate buttons manufactured by Comyns & Son, Dublin



Closing our NOVEMBER 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 Peter Barnes, Erica Azimov, Wayne Bednersh, Dominique Bochet, Dorothea Burstyn, Giovanni Ciceri, Ian Cook, David Dubin, Jayne Dye, Piero Eduardo, Mario Galasso, Christophe Ginter, Kari Helenius, Derek Jones, Peter Lockett, David N. Nikogosyan, Willand Ringborg, Hada Shamma, Michael Shatkin, Adriane Shuford Crosland, 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.
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