Dorothea Burstyn presents:
Three important exhibitions for the collector of
modern silver and other metals
"Frauensilber, Paula Straus, Emmy Roth & Co.,
Silberschmiedinnen der Bauhauszeit" (Silver made by
women, Paula Straus, Emmy Roth & Co., Female
silversmiths in the time of the Bauhaus) is a wonderful
exhibition showing more than 180 objects, the majority
from private collections and now for the first time
introduced to the public. These female artists, many of
them of Jewish origin, had been forgotten due to the
political circumstances in the 1930s and 1940s. It is
thanks to Dr. Reinhard Saenger's considerable energy
dedicated to the research into the life and works of
these artists that their lasting legacy for German
silversmithing is now secured. The research proved
especially difficult. Archives had been destroyed in
WWII. Other private archives like the one of Bruckmann &
Söhne had simply been discarded as their importance for
the history of the German silver industry was not fully
recognized.....
click here
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Welcome to new ASCAS members:
Adrian Stuart Grond - Switzerland
Alexander Gyé-Jacquot - France
Cindy Kolodziejski - USA
John Simmons - USA
Joseph Smith - England UK
Nick Volk - Australia
Gary Wilkinson - England UK
Members' Window # 86
Joanne and Emmett Eldred
present the second of their series of articles:
Our Collecting Guidelines - Originality (2)
We try to only collect teapots with their "original"
stands so originality of the combination is a key factor
for us. The question of whether a teapot and stand were
originally made as a pair or mated later is probably the
most difficult of our assessments. At first blush, it
would seem this determination should be fairly
straightforward and dependent on answering two basic
questions; "do the hallmarks match?" and "do the
engravings match?" However, after examining and studying
numerous examples one realizes this simplistic approach
is likely too restrictive. The real question should
probably be "were the teapot and stand paired
contemporaneously or were they paired at a significantly
later date"...
click here
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Alan Yates writes:
...I wondered if members could assist with the identification of
the mark on the underside of a salt that I bought in South
Africa about 20 years ago. The size of the salt is 7.5 cm across
x 115 gms, a good weight. The interior is gilded. Based on the
style, my guess is that it is Georgian.
I naturally suspected that it could be a Cape silversmith but
nothing in Stephan Welz' book entitled Cape Silver and
Silversmiths. Also nothing in any of Wynyard Wilkinson's books
on Indian and Indian colonial silver.
I should be most grateful for any assistance
Alan
Alan Yates writes:
...Another contribution to a future ASCAS magazine:
Images attached of two very good silver fish slices I bought in
South Africa on an S Welz/Sothebys sale about 15 years ago. They
were one lot, and although accurately described, when it came to
the makers (for they are by two different makers) and country of
origin, in the catalogue it was simply stated that they were
‘Continental’. Probably correct because the workmanship is of an
extremely high standard. I would date both as ca 1815.
The first one (first four images) has an ivory handle, and the
maker's mark seems to be 'CB' or 'CH'? Dot-engraved inscription
on underside 'J.G.T. 26 Aug 1815' Total length 37 cms.
The second (last three images) has an ebony handle, and the
maker's mark seems to be 'IM' ? No other marks or inscription.
Total length 34 cms.
Could anyone shed further light on, in particular, the makers
and country of origin?
Best wishes
Alan
Charles Deheselle writes:
...I'd wish to have information about the origin of this fork.
Thanks in advance for your help
Best regards
Charles Deheselle
Your item is silver plate (not sterling or solid silver)
made by WW Harrison. Information about this maker in my web site
at
http://www.silvercollection.it/electroplatesilverH.html
Giorgio Busetto
Joseph Scerri writes:
...Please can you tell me who the maker of this cup is?
Best regards,
Joseph Scerri
The maker of the cup (hallmarked London 1906) is W. H.
Jackson & Son. This mark was entered on 2nd September 1905.
The firm was created in c.1877 as a partnership of William Henry
Jackson and Walter Chase and was active as W.H. Jackson & Son c.
1905 until c. 1910
Giorgio Busetto
Huub van der Sanden writes:
...I recently bought this 18th century spoon with for me unknown
hallmarks.
Is there anyone who can help me?
Thank you
Huub van der Sanden
Christiane Soubeyrand writes:
...I am a new member. I need you help to identify the origin of
this little pot.
Despite my research I can not find any info.
What do you think about? Can you help me with this
identification?
Thanks in advance
Christiane Soubeyrand
Robert Massart writes:
The maker’s mark on Bruno Bruni's vesta case belongs to
Alfred Inderbitzen, who was a Parisian contract manufacturer,
operating at 153 rue Lamarck.
N° de garantie: 2406
N° de préfecture: 14853
Symbol: a horseshoe nail
Registration date of the maker: 20 March 1916
Robert Massart
Oskar M. Zurell writes:
French vesta case - Question of Bruno Bruni:
The vesta case is made by the Paris contractor silversmith
Alfred Inderbitzen (by name it seems to be an Alsace?).
Details: Orfèvre Alfred Inderbitzen; Contract manufacturer;
symbol: 'un clou de fer à cheval' = a nail of a horseshoe;
number of warranty: 2406; number of préfecture: 14853; date of
maker's mark registration: 20 March 1916; workshop address: 153
rue Lamarck, Paris 75.
This vesta case seems to be made, maybe in a little serie, to
fulfil a contract order, in the workshop of Alfred Inderbitzen
Oskar M. Zurell
Oskar M. Zurell writes:
The centred piece prevents the hot tea-kettle to slide too
much around.
We must imagine a servant who has to rush up just in time to
serve the beloved "5 o'clock tea time"; but he has got also the
order for some other activities.
My assumption of purpose of this salver's centred piece is, to
prevent the hot tea-kettle to slide too much around when used in
rush-up circumstances.
If now this centred piece becomes a nuisance? That seems to me,
is not the problem of the piece itself, but that of the user;
because it's used for the wrong purposes, for which it wasn't
determined.
Collecting Silver could be done on several levels - and well in
between these levels too.
The advanced collector, like as you imagine more then only the
object itself - he is 'seeing' the objects appearance,
determined from design, to production methods, to its
circumstances of use, e.g. in this case as a servant's server.
Oskar M. Zurell
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
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This month ASCAS presents an ancient advertisement
of
ASPREY'S
New Bond Street
London
The advertisement was published in the October
21, 1925 edition of Punch, or the London Charivari.
The page advertises Silver fountain pen & Silver
Pencil, silver match & ash tray, silver combined
reading glass pencil & paper knife and other objects.
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"A WORD per MONTH"
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CIGAR LIGHTER
ALADDIN LAMP
Cigar lighter is a type of lighter for cigars,
usually resting on a table and sometimes made in fantasy
form.......
more
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"A SILVERSMITH per MONTH"
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KIRK STIEFF CORPORATION
SAMUEL KIRK & SON
STIEFF COMPANY
Kirk Stieff Corporation was
created in 1979 merging the ancient Baltimore silver
companies Samuel Kirk & Son and Stieff Company.
The business was founded in 1815 in Baltimore by Samuel
Kirk. After a partnership with John Smith (until 1820)
the firm changed its name to Samuel Kirk & Son in 1846
when Henry Child Kirk entered in partnership with his
father Samuel.
In 1861, when the other two sons (Charles D. and
Clarence E. Kirk) entered the partnership, the name was
changed to Samuel Kirk & Sons, reverting to Samuel Kirk
& Son when they left the firm.....
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 Karin Sixl-Daniell
presents:
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MARKS OF HUNGARIAN SILVERSMITHS FROM MIDDLE AGE
TO 1867
by Koszeghy Elemér
(the text is in Hungarian and German language)
This book was published in 1936 -
essentially about Hungarian marks, only with a
number of illustrations of tea sets etc. at the
end of the book.
It is set out similar to Rosenberg and was
written because the author Köszeghy Elemer felt
that even in Rosenberg's book Hungarian marks
had not been adequately presented.
The author writes that this had been his work
from around 1910 onwards and that due to World
War I, he almost gave up this project. He worked
for a quarter of a century to compile the huge
amounts of marks contained in this book.
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Closing our July 2011 edition of ASCAS
Newsletter I hope you have appreciated its content.
Your comments, suggestions and advice will be of great help.
My thanks to Dorothea Burstyn, Charles Deheselle, Jayne Dye,
Joanne and Emmett Eldred, Robert Massart, Joseph Scerri, Karin
Sixl-Daniell, Christiane Soubeyrand, Huub van der Sanden, Alan
Yates 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
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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newsletter
# 86 July 2011
