ASCAS Association of Small Collectors of Antique Silver        newsletter # 65 OCTOBER 2009     SITE MAP
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A new article for ASCAS website

A Burgundian fork dated 1660
Christophe Ginter presents an article written in three versions (English, French and Italian):

A Burgundian fork dated 1660 English version
Une fourchette bourguignonne datée de 1660 version française
Una forchetta borgognona datata 1660 versione italiana

.....During a recent auction, it was my pleasure to appraise the fork represented above. The fork was produced about 1660 in the town of AUTUN in Burgundy (of which the capital is DIJON).
Today Autun is a small town of 16500 inhabitants. Autun was, during the seventeenth century, an important bishopric.....

click here English version     click here version française     click here versione italiana

New members

Welcome to new ASCAS members:  

Kriss Dillemans - Belgium
Piero Eduardo - Italy
Peter Ehrenthal - USA
Stephen Marsh - England UK
Antonio Piccolo - Italy
Alexandr Romanovskiy - Russia
Peter Trunzo - USA
Carla Veasy - USA
Naved Yar Khan - India
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Members' Window # 65

Silver Pepper Pot Shaker - Birmingham 1907
Robert Massart presents:

Silver Pepper Pots of the 19th & 20th Century English version

To spice the taste of our meals, using a pepper pot, is an everyday custom for all of us. Actually pepper casters or dispensers of pre-ground pepper are manufactured in all kinds of materials and shapes; even silver pepper pots or crystal pepper pots topped with a silver lid are still in use in households for special occasions. In past centuries only nobility and the wealthy bourgeoisie used silver objects to beautify their table setting and impress their guests......      
click here
 English version 

Mail to ASCAS: e-mail

Della Green writes:
...I have several pieces, I believe to be, from Iran. The marking looks like Iranian writing but I have been unable to find anything on it. I have taken it to several different places with no luck. Can I post a picture or send one and see if somebody knows about these pieces?
I would really appreciate any help you can give.
Thank you.
Della Green
unidentified Oriental silver unidentified Oriental silver unidentified Oriental silver
unidentified Oriental silver unidentified Oriental silver unidentified Oriental silver
The help of ASCAS members will be greatly appreciated
Giorgio Busetto

Geldolph Everts writes:
...With reference to Prof. Nikogosyan's article (WIN 57) on Polish (silverplate) marks, I am sending you a photo of the mark I found on a set of 'Norblin i Ska' fruit knives in my possession. As will be seen from the marks, the double-headed eagle is of a more stylised form which suggests a date after 1895 (when the eagle was still traditional, see image no 12) and 1915 (when the eagle apparently was no longer in use). Also, the word GALW is not followed by a colon or dot. Furthermore, WARSZA is mentioned instead of WARSZAWA. The number 994 may refer to the (silver-zinc?) content used in the hot-dip/electroplate process (your advice will be welcome), but the knives have no other marks, so maybe they are just of alpaca. The size of the oval is 5x7 mm.
With best regards,
Geldolph Everts
Norblin fruit knives Norblin fruit knives
First about the mark. It looks very inaccurate. Instead of WARSZAWA (Warsaw) it is written WARSZA. It is hard to imagine any western mark with a wrong spelling of their own country or capital city. The same refers to the image of the Russian eagle, which is too simplified and possesses no crown above the double-headed eagle. There is no dot or colon after the inscription GALW. Besides, the capital letter "I" instead of "i" is used in the expression "NORBLIN i Ska".
From my point of view, this mark looks like a forgery and was created by people not very familiar with the Polish language.
Another point is the material from which the handles of these fruit knives are made. It is colored organic glass (poly-methyl methacrylate), which was not used in before 1925. But it is also obvious that the Polish mark with Russian eagle couldn’t exist after 1915.
So, I am sure this set of fruit knives is a forgery (probably made in China or somewhere in the East).
Best regards,
David Nikogosyan

Claudio Morelli writes:
...can you help me? This is a cigarette holder of wood and silver. I can not understand its origin and year of production.
Thanks for your help.
Claudio Morelli
cigarette holder cigarette holder

Fritz Guercke writes:
...I hope you or other members of ASCAS can help me to identify this rather big spoon. It is 37 cm long. The spoon has the following hallmarks: An anchor with the letters D and A at its side, 3 stars and a mysterious sign or symbol – you can see the spoon and the hallmarks on the enclosed pictures. The tablespoon and the teaspoon at the side of the big spoon shall only show the proportions.
Where is it produced? How old is it? Is it silver or plated? 
Thank you very much in advance! 
Yours sincerely 
Fritz Guercke
silver spoon silver spoon
I believe that your spoon is silver plate and not solid silver. Any suggestion by ASCAS members will be highly appreciated.
Giorgio Busetto

Peter Barnes writes:
... I have a number of items for which I have been unable to identify the maker's marks. They are not (as far as I can find) in either Rosenberg or Carre. I am hoping that you or another member will be able to help me with the attribution.
The first is a taste vin marked for Caen ca 1774-1780 and with a later guarantee for Maine et Loire (Angers). The maker's mark is CC with a star below and usual Fleur de Lis and crown. It has an additional mark A over T with a crown above.
silver taste vin silver taste vin
The second is a Swedish beaker dated for Stockholm in 1753. The maker's mark LS in script.
silver beaker silver beaker
Next is a Scandinavian hovedvandsaeg with what I believe is the date mark S3 for 1824. The maker's mark is OLSEN.
silver hovedvandsaeg silver hovedvandsaeg
Last is a French dresser jar marked for Paris ca. 1800. The maker's mark in a lozenge is JC with an M above and a G below. The devise appears to be a ewer.
silver dresser silver dresser
Any help with these marks would be greatly appreciated and of great help to me in cataloguing my collection.
Thanks and regards
Peter Barnes
Great challenges for ASCAS members. Identification of marks needed.
Giorgio Busetto

David McKinley writes:
Dear Giorgio, Once again I must thank you for the newsletter and for all your work in putting it together.
I would like to reply to Peter Barnes (see September Newsletter) please as follows:
I would like to thank Peter Barnes for his kind words and for the picture of his de Lamerie mote spoon. That the 'barb' on his spoon is so like the one on mine means that mine is not unique and this supports its authenticity but more than that it helps me to make a possible attribution of the maker of my spoon. de Lamerie had a close association with George Wicks (he supplied plate to the Prince of Wales through Wicks) and the two may well have shared design ideas which would thus be peculiar to them and nobody else. The maker's mark on my spoon takes the form of an upper case 'G' followed by some scratches which are unreadable. George Wicks registered a mark in 1735 comprising the letters 'G W' crowned!
Thank you again Giorgio.

Eddie Robinson writes:
I haven't spoken for a while. Keep the news letters coming they are both interesting and great value.
I am in need of your help with finding the age of the attached pic.
It is at the base of a hotel style Water/Coffee pitcher. M.H & Co Martin Hall & Co Sheffield
Have a terrific day.
Eddie from down under
I found this information:
"Martinoid is a trade mark used by Martin Hall & Co in the period 1880-1934"
and also 
"...At the British Industries Fair of 1915, where they had one of the largest stands, Martin, Hall & Co Ltd had an excellent display of silver and E.P. goods, from large silver bowls and presentation cups down to spoons. There was practically every article one can think made of these metals. For the cheap trade, the firm make the same varieties of goods in a patent white metal called "Martinoid", which is claimed to hold the premier position in the amalgams of the trade, possessing all the non-corrosive properties of Britannia metal which it has now superseded, and in addition is unequalled for colour, hardness and durability, whilst its close grain gives the metal a fine ring and finish equal in appearance to sterling silver. Martinoid goods have become very popular on account of their cheapness, and large quantities have been sold in this country, but also in the Colonies..."
Giorgio Busetto

Paola Continella writes:
...I need information about the marks of these spoon and fork. They bear the Kingdom of Sardinia (cross) and Genoa Assay Office (dolphin) marks, but the other marks are absolutely unknown to me.
Any help would be appreciated.
Paola Continella
Kingdom of Sardinia silver spoon Kingdom of Sardinia silver spoon
Kingdom of Sardinia silver spoon: marks Kingdom of Sardinia silver spoon: mark Kingdom of Sardinia silver spoon: mark Kingdom of Sardinia silver spoon: mark
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
Marks on the spoon:
besides the "cross" and the "dolphin" there is a rubbed mark that I believe to be M.F. belonging to Ferrando Mario, Nizza, 1847
Marks on the fork:
besides the "cross" there is the mark of Nizza Assay Office (a hand: see in my website at ) and the mark of silversmith Poton Enrico, Chambery, 1847 (P.)
Giorgio Busetto

Robert Barry writes:
...Years ago I purchased this item from a dealer, who had little information to offer beyond "probably continental". It is a silver basket of reticulated design featuring garlands of roses and a scene with two cherubs and kissing birds. The basket measures 6 ½ x 5 ½ x 1 ¼ inch deep, and weighs about 4 ozs. The hallmarks on the back have so far eluded my identification.
Can anyone tell me its origin?
Thank you.
Bob Barry
silver basket by Wilhelm Ludwig silver basket by Wilhelm Ludwig
Your item is a piece of "Hanau Silver" (Germany) made by Wilhelm Ludwig (1935-1972). Information about Hanau silver in ASCAS website at
Giorgio Busetto

Claudio Morelli writes:
...Dear Giorgio, I have an odd silver-plate item of which I'm trying to find information about. I hope that someone of ASCAS members will be able to supply information on its use and identify maker and origin.
Thank you.
Claudio Morelli
unidentified silverplate item unidentified silverplate item
unidentified silverplate item unidentified silverplate item
Any suggestion will be welcome
Giorgio Busetto

Replies to questions

Alessandro Colemann receives these replies about his French sugar sifter 
(see September 2009 Newsletter)
French silver sugar sifter French silver sugar sifter
French silver sugar sifter French silver sugar sifter French silver sugar sifter French silver sugar sifter French silver sugar sifter French silver sugar sifter
José Luis Muñoz writes: September Newsletter Alessandro Colemann requests information about the mark of his sugar sifter. The silversmith is Clérin Aimée Catherine (widow Lecour) 12 Rue Bailleul, Hotel d'Aligre, 11 Place Thionville (1813), (Place Dauphine) Paris.
José Luis Muñoz
Christophe Ginter writes:
Regarding Alessandro's question, the French silversmith is a mistress, Aimée Catherine Clérin, widow of the maker Mr. Lecour. The mark shown here is her third one. The mark was used as from 1818.
Charles C. Cage writes:
Alessandro Colemann’s French Restauration-era sugar sifter bears Paris touchmarks for first standard (.950) silver, 1819-1838. The maker’s mark "ACC" with a crowned cup belongs to Aimée Catherine Clérin, the widow Lecour. She was first registered in 1807, though this particular mark was not registered until 1818. There is no record of its cancellation, but a mark with the same device was registered in 1830 at the same address (11 place Dauphine) by François-Marie Lecour, presumably her son.
Hope this helps!
Charles C. Cage

Gerald Gerhart receives this reply about his sugar basin
(see September 2009 Newsletter)
silver and crystal candy dish silver and crystal candy dish silver and crystal candy dish silver and crystal candy dish
Charles C. Cage writes:
...Gerald Gerhart’s sugar basin is second quarter 19th century Berlin, Germany. The Berlin guild was unusual in that, beginning in 1819, each piece submitted to them was generally marked by two assayers: the primary assayer (the Zeichenmeister), and the secondary assayer (the Wardeinmeister). The primary assayer’s letter appeared within the city mark (a rampant bear) and the secondary assayer’s letter appeared alone. Here, the mark on the right is that of Berlin primary assayer J. C. S. Kessner, who served 1819-1854 (rampant bear with the letter "K"); the mark on the left is the mark of Berlin secondary assayer B. G. F. Andreack, who served 1819-1842 (the letter "A", here inverted in relation to the other marks). The maker’s mark in the center, though worn, is almost certainly that of Berlin silversmith Johann Georg Wilhelm Peters (1793-1864); Master 1829 ("WP", script, in an oval).
Charles C. Cage

Michael Yabsley receives this mail by Richard Hoskin after his request of contact in June 2007 Newsletter
I came across the appeal by Mike Yabsley in Newsletter #38 June 2007 when I googled Queen Victoria’s godchildren. Can you please forward it to him?
I have in my possession a silver swan which was allegedly a christening gift by Queen Victoria to one of her godchildren. My grandmother bought the swan at a church fete in Cornwall during the 1930’s for 1 shilling, and it was believed to have been donated by a Mrs Bradstock. I have been unable to trace the origins of this lady or her maiden name.
The swan is hallmarked with a maker’s mark that looks like TS WS HH (Thomas Slater, William Slater & Henry Holland) and I think it’s dated 1895.
During my research I found an article that says the young Queen Victoria who had many godchildren ordered a standard cup from Mortimer & Hunt; this would seem to cast doubt on the gift of a silver swan.
I would be grateful if you are able to shed any light on this. I attach a photograph and look forward to hearing from you.
Richard Hoskin

In August Newsletter we made a "Scottish" hypothesis about the mark of John J. Yale's fiddle pattern ladle
(see August 2009 Newsletter)
Robert Massart writes:
...Dear Giorgio,
In newsletter 63 of August 2009, John J.Yale wondered if his toddy ladle was of Scottish origin.
After contacting the Edinburgh Assay Office I was informed that they showed the marks to the curator of the National Museum of Scotland, who stated that he was pretty sure the marks are not Scottish.

Jeff Christensen receives this reply about Hermann's mark of his champagne bucket
(see September 2009 Newsletter)
David Nikogosyan writes:
...Recently I got a letter from one woman possessing a coffee-pot from Herrmann bearing the stamp found by Jeff Christensen (lion symbol, J L Herrmann with letters AG) and a characteristic detail similar to that on the champagne bucket.
This piece (see photo attached) is surely made after WWI, in the twenties-thirties, as it has a very characteristic knob used from that time and later until the fifties.
I know that Herrmann was absorbed by Arthur Krupp Berndorf before 1920 but this finding shows that even at that time Herrmann factory continued the silver plate production under its own name.
Best regards,
David Nikogosyan


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
invoice of the Russian silversmith Ovchinikov
This month ASCAS presents the head of an invoice of the Russian silversmith Ovchinikov.

The firm, founded in 1853 by Pavel Ovchinikov, was managed after his death by his sons Mikhail, Alexander, Pavel and Nikolai.
The company received the Imperial Warrant in 1883 and its works were shown in many exhibitions, achieving great success and winning many awards. 


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



Quaich (cuaich in Gaelic) meaning "cup", are a uniquely Scottish invention. Having no apparent connection to any other European drinking vessel they have maintained their distinctive shape as a wide and shallow cup for more than four hundred years. There are some scholars who believe the shape evolved from the use of scallop shells.....



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
RG in script under a crown mark, R & S Garrard & Co -Robert Garrard II-, London 1861


Founder of the firm was John Wickes in 1722. In 1802 Robert Garrard (senior) took the control of the firm active in Panton Street, Haymarket, London. In 1818 he was succeed by his three eldest sons, Robert Garrard Jr, James Garrard and Sebastian Garrard trading as R, J & S. Garrard. The firm became R. & S. Garrard in 1835, R. & S. Garrard & Co in 1843 and Garrard & Co Ltd in 1909. In 1952 the firm was amalgamated with Goldsmiths & Silversmiths Co Ltd.....


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:
ART WORK IN  GOLD AND SILVER, book London 1882
This is what the authors wrote in their Editors' Note:
The chief aim of this series of Handbooks of Practical Art is to bring to the notice of students and amateurs of art, as well as all lovers of the highest excellence in workmanship, numerous examples, both ancient and modern, of the application of beautiful design to articles of every-day use and to the various objects which are frequently employed for purposes of decoration.
Each book will contain an historical record of the progress of the art of which it treats, from the earliest times to the present, showing the distinctive characteristics of the respective periods; and will be illustrated with about forty to sixty engravings, which will include representations of many of the most remarkable specimens of industrial art that have been preserved to us, and which now adorn the national museums of Europe.
In making the selection, much care has been taken to include only those works that are noteworthy, either for the elegance of their form or the beauty of their ornamentation; although a few objects have been chosen for their historical interest, and for the purpose of showing the style of art prevalent at the time in which they were made.....

The whole book in pdf format (71 pages, 12,6 MB) is freely available in ASCAS website click here (be patient, file downloading requests some minutes)


In this column we present images and description of Crests and Mottoes of British, Irish and Scottish Families as engraved in silver items.
crest of Straker of Durham an another not identified

STRAKER of Durham
and another not identified

The crest is a horse at full speed,
Motto: Deus Est Super Domo (the meaning would be presumably God is over... 'the House', but the sentence is not fully correct in Latin language)
Crest engraved on a salt cellar made by Garrard & Co, London 1913

salt cellar with crest of Straker of Durham an another not identified


Closing our OCTOBER 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, Robert Barry, Charles C. Cage, Paola Continella, Jayne Dye, Geldolph Everts, Christophe Ginter, Della Green, Fritz Guercke, Richard Hoskin, Robert Massart, David McKinley, Claudio Morelli, José Luis Muñoz, David N. Nikogosyan, Eddie Robinson, 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.
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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.
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