2013 ASCAS membership
LAST WARNING
Members still interested in ASCAS and its activity are
invited to send an e-mail to:
confirming their 2013 membership (the simplest way is to
use the 'reply' button on our January e-mail).
No action is requested to unsubscribe. Members not confirming
their membership will be automatically deleted and shipping of
our monthly Newsletter will be suspended on February
2013.
Please IGNORE this announcement if you have already confirmed
your interest, by email, within the last month.
Giorgio Busetto
ASCAS Secretary
Katherine Palthey presents:
French antique silver rattles
Baby rattles "hochet" are among the oldest toys known in
France, and probably even in the world. Evidence of baby
toys in the form of rings, balls and sticks have been
known as far back as the roman times. In the northern
part of Normandy, archaeologists were digging up an
antique cemetery in Evreux and discovered what they
described as a Gallo-Roman object very similar to
today's baby rattle!......
click here
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Welcome to new ASCAS members:
David Nunnerley Boddy - South Africa
Anne Marie Kuhne - USA
William Murphy - USA
Robert Ringold - USA
Clive Taylor - England UK
Members' Window # 104
Giovanni Ciceri presents:
A 'Japanese' style bachelor tea set
This "bachelor" tea set (for its small size has been
intended for a single), hallmarked for London 1879, has
been made by William & John Barnard, belonging to one of
the most famous families of silversmiths of the
Victorian period.
The style of this tea set, consisting of a teapot, a
milk jug and a sugar bowl, is known as "Japanese",
especially for the particular decoration of clear
Eastern influence. Here, also the shape of the
individual pieces (especially the teapot) is inspired to
terracotta models in use in China in the seventeenth and
eighteenth centuries, though not originally designed for
tea but to contain other type of beverages, like
wine.....
click here
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Robert Massart writes:
... Maybe that one of the members knows the name of this French
silversmith J .…antin (ref. attached pictures).
The mark dates from the period 1819-1838 and belongs most
probably to the region of Nantes.
I would be grateful to obtain any possible info related to this
departmental silversmith.
Thanks in advance and kind regards,
Robert Massart
John Lawrence writes:
... I am trying to find some information on an Australian
silversmith, Edwin Harrop.
He seemed to have been active in the 1930's.
I have a silver cigarette case, marked INVICTA E.H. STG. SILVER.
A friend has what we believe to be a cigarette box with a wooden
liner marked EH STERLING SILVER and JULY 1933.
There is a napkin ring in the Powerhouse Museum in Sydney,
referenced "2002/81/12 Napkin ring, sterling silver, Magnus
Goldring incorporating Edwin Harrop for Hardy Bros, Sydney, New
South Wales, Australia, 1920 – 1930"
Even with this we have been unable to find any information
concerning Edwin Harrop.
I tried a search on your database with no joy.
If you or any members of ASCAS can help, that would be great.
Have a great day,
John Lawrence
Magnus Goldring was listed in 1895 as representative of
Edwin Harrop. Edwin Harrop senior died in 1894. In 1915 his son
Edwin George Harrop disposed their entire Sydney operations to
Magnus Goldring. After his death (1918) his sons Harold and
Leslie Goldring undertook the management of the family business
that became a proprietary company in 1957. After the death of
Leslie, the business was conducted by Harold Goldring and his
two sons Magnus George and Kenneth. The present managing
director of the company is Stephen Goldring (son of Magnus
George and great grandson of the founder).
Jolyon Warwick James
Bill Poynton writes:
... This piece has recently come into my possession. I think
it's a love token which, in some ways, this does appear to be.
It is very similar in shape to the early Hovesvansaeg from Scandinavia, quite small.....measuring
5cm x 3cm across the heart shaped body. It is marked underneath
the foot only with the maker's mark I.C (mullet below), struck
three times and the maker's mark is typically English.
There is such a mark in Jackson's registered c. 1640 in London,
but I'd hesitate to categorically confirm this as a London piece.
I wondered if any members could be helpful?
Many thanks
Bill Poynton
Roland Minlabbe writes:
... I was wondering if you could help me with the meaning of the
marks of this teapot.
Thanks for the help
Regards
Roland Minlabbe
Your teapot is silverplate made by Roberts & Belk –
Sheffield (see my website at
http://www.silvercollection.it/electroplatesilverQR.html.
The AI mark is a quality symbol (see my website at
http://www.silvercollection.it/dictionarysilverplatesymbols.html
). In the mark is present a crown. This signifies that your
teapot was made before 1895 (when the use of the crown in
silverplate objects was forbidden).
Giorgio Busetto
William Coultas writes:
... I need your help in identifying an interesting item of
silver.
The main body is of a horn (not sure what type it is), the metal
has been tested as silver. I have been told it would be used to
put flowers in and that it is possibly Arabian as there is an
inscription that I can not read.
If anyone can help to date the item or tell me what the
inscription says or just tell me more about it I would be very
grateful.
Thanks
William Coultas
Oskar M. Zurell writes:
... The shown fork is an Olive spoon ...to serve getting also the ever
last olive out of a conserve – or other kind of mixed pickles,
like silver onions … It seems to me it's the International
Silver Co. (Plated) Ashland pattern, introduced in 1914.
Oskar M. Zurell
Malcolm Stander writes:
... It's a spoon for removing olives from container -can
spear it or scoop it
Malcolm Stander
Roberta Parker writes:
... The spoon with the cut out bowl Ms. Camozzi enquired
about is an olive spoon. The cut out bowl allowed for the brine
to drain from the olives. They were made with long handles for
ease in getting the olives from a tall container, or shorter
handles better suited for use with a bowl or shorter container.
The pattern would suggest a date of the 1920's or 30's.
Roberta Parker
Katy Galewski writes:
... Renata Camozzi's photo in December's newsletter is of a silverplated olive fork. It is in the 1914 Roger & Bro. pattern Ashland.
However, when looking for information on the fork, I discovered that some olive forks are referred to as "ideal ".
Can someone
explain why some olive forks are called "ideal " and others are not?
Katy Galewski
Oskar M. Zurell writes:
... as already supposed by Giorgio Busetto, it's made by
Peter Bruckmann & Söhne AG in Heilbronn, Germany.
The Coffee spoon and the Dessert spoon is made in the pattern
'295'(in Germany usually named 'Muster' or 'Modell' ),
introduced in the market in 1902. If you look to the added
images from sales catalogues (which are from around 1905 and
1909), then you would see the number '2951'. That was usual too;
but in reality was the last digit '1'= table spoon, '2' = table
fork, '3' = table knife, ..., '11' = Dessert spoon, ..., '21' =
large Coffee spoon, ... The Fish fork and the Fish knife are
made in the haft version –for reason of different possibilities,
e.g. front part engraved, or flat, made in Silver, or German
Silver ... these all have got different digits.
The pattern was made in the so called 'weight group' of 850
grams; the signification is that 12 table spoons or 12 table
forks are made from 850 grams of silver alloy = around 71 grams
per piece = around 57 grams fine, if the fineness of the alloy
was .800 (as German minimum standard).
It was also possible to be made in each other fineness above
.800, like .830, or 900, or 950 ...
There was, a short while after the introduction, a slightly
different pattern without Monogram frame (called 'Kranz').
That's the pattern number '2951 ½' (in the image is mentioned
only the possibility of 'without frame'). The indication of
'1/2' stands in general for differentiations; that could be a
little bit simplified pattern, or made in a lower 'weight group'
= thinner = less expensive in sales price ...
Oskar M. Zurell
Oskar M. Zurell writes:
...the tray is from the end of XIX century; the maker "FMJ"
isn't identified until yet. The used Pseudo-Assay-mark,
simulating 'Lisbon'-Assay, isn't crowned but topped by a
five-point star.
I suppose that the maker was a bigger silver hollow wares
factory (by three different punches in about one decennia),
possibly settled in Rio de Janeiro. The family name would start
with 'J', like e.g. Júnior, Jesualdo ...
Because I suppose that "FMJ" was an industrial - the "Câmara de
Comércio" from Rio de Janeiro could be one source for
identifications. Write a letter to them, with the images
included.
For reason that much of the older Brazilian Documents aren't
digitalized and so also not available in the internet, I must
place in this case the need of more research on lower priority;
sorry.
But now you've a 'map' and you could make your own steps. If you’ve
results, please inform the »ASCAS«. Good luck!
Source of the marks: 'Marcas de Contrastes e Ourives Portugueses'
ISBN 972-27-0773-6. Vol. I (XV century – 1887). 4th edition
(Reprint of 3rd ed. 1997), Lisbon.
Oskar M. Zurell
Luis Castelo Lopes writes:
...The plates with receptacle should be Spanish or Spanish
colonial and there are similar objects in both Spanish ceramic
and Chinese porcelain for the Spanish market, both made in the
late 18th and 19th century. They were used to contain a ceramic
"glass" for (very) hot chocolate, the Spanish name is "Mancerina"
but they are also known by a French name "trembleuse" (or the
"shaker"!). These objects appear in Spanish paintings, and
reproductions can still be bought in Spain. Below you see two
images of Mancerinas
Luis Castelo Lopes
Oskar M. Zurell writes:
...Maybe Mr. Dishart will be disappointed. The vase is
Plated! Not 'PLATA' - also that's stated on the object's surface.
The marks, I think so, are struck in South America – maybe to
deceive? Normally there had to be struck 'PLATEADO' or 'CASQUIÑA'
or something similar!
The vase is made by Wilhelm Binder in Schwäbisch Gmünd, Germany
– a factory of a higher level of cutlery and hollow wares.
Additionally they had later also a line of plated cutlery and
hollow wares.
From when on precisely they've start to use the 'FLOREAT' Trade
mark, actually I don't know – that needs some more research as
the internet actually could offer.
I suppose that the vase is maybe made between the two World Wars,
or after the Second one.
As already said, 'Floreat' is the registered Trade word-mark for
Plated products of Wilhelm Binder. That's the second and the
fourth mark from left. In the fourth mark the word 'FLOREAT'
would maybe in yours case nearly invisible? But the script 'f'
is so typical as it could be.
I add two images of a marks guide. Additionally there in the »f«
mark is horizontal positioned a foil – a symbol for sturdiness’.
Plated wares from Wilhelm Binder are exceptional good – that’s
my experience since decennia. Foil fighting – not softness of a
flower!
Oskar M. Zurell
In this column we presents 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
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This month ASCAS presents an 1894 advertisement of
The Middletown Plate Co, Middletown, Conn. before its
take over by International Silver Co (1899)
THE MIDDLETOWN PLATE CO
Good for sale by all the leading Jobbers
and Retailers everywhere.
None but the Best Quality of Plated Ware is
cheap at any price
All Wares bearing our trade mark is of the BEST
QUALITY
At the time of the advertisement the firm was
active also in Chicago, IL (113-115 State
Street), New York (22 John St.) and San
Francisco (120 Sutter St.)
The business was started in 1864 by Edward Payne
and Henry Bullard and in 1866 Middletown Plate
Co was incorporated.
The company, besides the production marketed
with its own name, sold holloware to Rogers &
Bro, New York, who finished and marketed it with
their trade mark.
Middletown Plate Co was one of the early
silverware companies included in the
International Silver Co.
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"A WORD per MONTH"
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DECANTER WAGON
WINE TROLLEY
This is a stand holding two coasters mounted on four
leather-bound wheels with a swivelling handle. They were
used in more formal occasions to pass the wine from
guest to guest down a long table.
According to Bradbury the trolley was invented in the
early 1820s by Sir Edward Thomason, acting upon
information received from Lord Rolle who had dined with
King George IV.
The King, apparently, "regretted that his noble guests
who sat on either side of him were constrained to rise
from their seats to pass the wine" and said to Lord
Rolle "As you have said that you are going to Birmingham
tomorrow, you had better call upon Thomason who may
invent some plan to obviate this inconvenience"......
more
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"A SILVERSMITH per MONTH"
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INTERNATIONAL SILVER COMPANY
The international Silver
Company was formed in 1898 by various independent New
England silversmiths that joined themselves together to
form a company that became the world's largest
manufacturer of silverware. The International Silver Co.
was organized with an authorized capital of $20,000,000
and included the following companies each of which had
won a place for itself in the silver world:
BARBOUR SILVER CO. (Hartford),
DERBY SILVER CO. (Derby),
HOLMES & EDWARDS SILVER CO. (Bridgeport),
MANHATTAN SILVER PLATE CO. (Lyons, N.Y.),
MERIDEN BRITANNIA CO. (Meriden),
MERIDEN SILVER PLATE CO. (Meriden),
MIDDLETOWN PLATE CO. (Middletown)
NORWICH CUTLERY CO. (Norwich),
ROGERS CUTLERY CO.,
ROGERS & BROTHER (Meriden),
ROGERS & HAMILTON CO. (Waterbury),
SIMPSON HALL MILLER & CO. (Wallingford),
SIMPSON NICKEL SILVER CO. (Wallingford),
WATROUS MFG CO. (Wallingford),
WILCOX SILVER PLATE CO. (Meriden),
WILLIAM ROGERS MFG CO. (Hartford)
more
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"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)
In the "book on my shelf" of this month Jolyon Warwick James
presents:
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EARLY AUSTRALIAN SILVER
THE HOUSTONE COLLECTION
By J.M.Houstone
Halstead Press
John Houstone has collected early Australian silver
for 40 years. His collection, for the period up to 1850,
is unrivalled and from 1850 to 1900, is remarkable.
However what is more important is that he has left us an
important legacy of his invaluable researches over this
period. This is contained in the important reference
work which details his collection and numerous hitherto
unpublished biographies and marks of many newly
discovered Australian silversmiths. As a resource on the
topic it is a serious advancement on existing knowledge
and literature.
Whilst the book re-examines the history of silver
smithing in Australia, its greater contribution to the
subject is the meticulously and systematic updating of
our knowledge of the silversmiths themselves. Whilst
many may have heard of Alexander Dick, William Edwards
or Henry Steiner, the book uncovers numerous previously
unheralded or unidentified makers. Who has heard of the
likes of Thomas Butler, Charles Hendrick, Alexander
McLeod and William Park (to name a few)? In some cases
marks identified and attributed to Australian makers
were previously attributed erroneously to other makers
and other countries – or indeed simply in the
international "too hard" basket. The marks illustrated
(230 in all) and biographies of these and many others
silversmiths make the book an indispensable addition and
advancement beyond existing references. A new dimension
is the inclusion of a list of numerous initials and
crests appearing on items by Dick and others, linking
many items to specific families in Australia.
As to be expected in an academic work there are issues
raised which are open to debate. The author does not shy
away from his position on, for example, his concerns
over the degree of involvement of Joseph Forrester in
the known corpus of silverwork, and his views on the
authenticity of the Collins Castor. There are even some
tentative attributions of items that one may think are
possibly more doubtful than tentative, such as the
Henshall Cream Jug and the Garfield dishes. But none of
this diminishes the very considerable body of knowledge
provided by this work and its sharp focus on Australian
silver.
The book is hard cover measuring 28 cm x 22 cm x 3 cm.
It is indexed, has 320 pages, 300 colour illustrations,
and images of 230 hallmarks.
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Early
Australian Silver – the Houstone collection, by J.M.Houstone. Is
published by Halstead Press, RRP $ 79.95 (postage extra)
Jolyon Warwick James is a silver historian, consultant and
valuer based in Sydney.
P.O.Box 142 , Woollahra, Sydney , 2025,. Australia
Tel + 61 2 9326 1319, Fax + 61 2 9327 2770
Mob 0412 042155 E-mail jolyonwjames@gmail.com
Closing our JANUARY 2013 edition of ASCAS Newsletter I
hope you have appreciated its content.
Your comments, suggestions and advice will be of great help.
My thanks to Giovanni Ciceri, William Coultas, Katy Galewski, Jolyon Warwick
James, John Lawrence, Luis Castelo Lopes, Robert Massart, Roland
Minlabbe, Katherine Palthey, Roberta Parker, Bill Poynton,
Malcolm Stander and Oskar M. Zurell for their invaluable
contributions.
Giorgio Busetto
Secretary
DISCLAIMER AND PRIVACY POLICY
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
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These rules are expressly accepted by submitting the
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newsletter # 104 January 2013
