Christine Erratt presents:
Silver Spoons and Australian Flora
Australia's unique flora has been portrayed in the
decorative arts since the early colonial times of the
last decade of the 18th century. The use of Australian
flora to decorate silverware is of particular interest
Early colonial works before the 1850s are few and far
between a combination of lack of wealth and paucity of
available silver. By the second half of the 19th century
the colony had become wealthier. The gold rush of the
1850s brought a massive influx of immigrants, as did the
promise of a better life for many from Europe at that
time. German and Danish immigrants to South Australia
included a number of trained silversmiths who found a
society ready to support their work, which became
Welcome to new ASCAS members:
Ray Berrie- USA
Ian Barrie Egerton - Australia
George L. Lee III - USA
Will Paulsen - USA
Walter Snyder - Switzerland
Members' Window # 102
Giovanni Ciceri presents:
A tea kettle by Liberty & Company
From the second quarter of 1900 while in Scandinavia was
becoming popular the simple, attractive and functional
style introduced by Georg Jensen, in other parts of
Europe, including the United Kingdom, the few
silversmiths who left the conservatism of their
productions, were more aimed at pure lines and geometric
forms, not always of functional use, dictated by the
Modernism continuing in a non-positive way the path
opened by Christopher Dresser.
A pleasant exception in U.K. is represented by the
production of Liberty and Co. and the beautiful designs
of C. R. Ashbee in "Arts & Crafts" style.
Large manufacturers such as Mappin & Webb, Walker &
Hall, Elkington, William Hutton & Sons, Arthur Price &
Co were instead mostly concerned to the merely
commercial production of silverware and only
occasionally engaged talented designers as was Keith
Murray by Mappin & Webb......
Kevin J. Villa writes:
... I just found this medical kit at an estate. I cleaned out,
wondered if you could tell me anymore about it.
It is marked .925. I know that it's English and made by
Burroughs Wellcome Co. Is the date 1909?
It is 4 1/4 inches long by 3 1/4 wide by about an inch thick.
Kevin J. Villa
Your item is dated London 1909. The maker is, possibly
(the image isn’t well readable) Sir Bache Cunard Bt.
Michael Speedway writes:
... Could you help me with two spoons? I think one of them is an
Elkington & co, but I am not sure about the other one.
I would much appreciate if you have a look at the pictures
attached to this email.
Chris Madoyris writes:
... I was hoping on some feedback on a sterling silver cigar
case that I own. It's been in my possession for nearly thirty
years. I bought it at a garage sale when I was in my early teens
and have always wondered about its history.
I've conducted some on-line research over the years but ended
confused as of its history. Could you shed some light on the
hallmarks as attached to the case?
Your thoughts about the item would be welcome.
The measurement are
125mm long - 74mm wide - 17mm thick 157g weight
Once again thank you
Your cigar case is marked London 1841 and the maker is
Edward Edwards II. He was, possibly, the son of Edward Edwards I
and entered his marks in 1828, 1840 and 1841. He was active at
60 Red Lion Street, London (from 1829).
Hymie Dinerstein writes:
... I need help in identifying a circular box with a pull off
This is a good quality box which is 2 7/8” (73mm) wide and 1”
(23mm) thick and weighing 141 grams.
I am attaching pictures with photo of the only mark underneath
and the initials on the lid.
Can you help identify this piece.
Paola Venturelli writes:
... I need your help to identify the marks of a chalice with
silver base and ivory cup. I believe it's a 19th century
Christophe Ginter writes:
... Regarding the last ASCAS newsletter and precisely Cornelia Thier's
Charles C. Cage writes:
Obviously a "danziger" (under German vocable) item, datation
1840-1870, sterling silver.
The silversmith is Michael STUMPF, registered approximately
1835-1870 in this city.
The "W" is punched as a belonging mark to Prussia (Preussen mark),
not as a datation mark, the famous city part of German states
until 1918, today GDANSK in Poland.
... Regarding Cornelia Thier's lovely candelabrum, it is indeed from
Danzig/Gdansk. The maker "M. Stumpf" is the Carl Moritz Stumpf,
master 1832, died 1894. The "W" is the mark of assayer Carl
August Winkelmann, who served in that office 1841-1844 and again
1846-1849, this narrowing the date of manufacture.
Charles C. Cage
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
This month ASCAS presents a National Silver Company
1940 advertisement of their Golden Jubilee Pattern
GARDEN OF ROSES
"All the beauty of an enchanted rose
garden faultlessly fashioned in gleaming
silverplate to thrill women everywhere with its
loveliness! - This Garden of Roses pattern
celebrates National Silver Company's Golden
Jubilee - 50 years of offering distinguished
silverplate design at prices any one can afford
- 81 pieces double tested silverplate $
The firm began its activity in 1890 with Samuel E. Barnstein and
became the National Silver Company before 1904.
It had an English division in Sheffield:
Cheltenham & Company Ltd (before 1950).
F.B. Rogers Silver Company was purchased in 1955
and Ontario Manufacturing Company in 1956.
The firm used the trademarks Monarch Silver
Company and Viceroy Silver Company.
"A WORD per MONTH"
ICE WATER PITCHER
The ice water pitcher is a typical device of
American Victorian silverplate.
It was used to maintain cold water drink before
mechanical refrigeration outmoded its use.
There were many different styles of these pitchers. The
early ones had straight sloping sides (similar to old-
fashioned coffeepots); later ones were mounted on
The tilting device permitted to pour water without being
compelled to lift the (heavy) pitcher, and, in some
cases, was constructed with a base forming a tray for
holding goblet and for catching the water that condensed
and dripped outside of the pitcher.....
"A SILVERSMITH per MONTH"
ROGERS: A DYNASTY OF AMERICAN SILVER MANUFACTURERS
Rogers is a recurrent name in
American makers of sterling and silverplate ware.
There is a great confusion about the firms bearing this
The number of companies using the Rogers name is
countless. The men managing the various "Rogers"
companies sometimes were linked by family relationships
but often this was not the case.
Lots of companies with this name were created, merged,
separated in an endless succession of intertwined
"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 ASCAS presents:
TEA & TASTE: THE VISUAL LANGUAGE OF TEA
by Tania M. Buckrell Pos
Schiffer Publishing Ltd
Never before has there been a book focusing on the
theme of tea as it relates to both the fine and
decorative arts. With over 330 beautiful color images,
this book explores the history of tea with special
attention to the impact its popularity has had on the
development of porcelain, furniture, silver, and the
other decorative objects employed in serving tea. Here
are teapots, cups and saucers, kettle stands, tea
caddies, silverware, and more, inspired both by the
expense of the tea itself and the various social
significances surrounding its consumption.
The valued place of tea in society at all levels has
also created a subject for the fine arts. From maritime
paintings, to portraiture and still lifes, artists have
captured the romance of tea through the works shown in
Images from top dealers, galleries, and collectors,
representing some of the highest quality tea ware
created, illustrate the fascinating and well researched
text to please readers around the world.
Closing our November 2012 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, Hymie Dinerstein, Christine Erratt,
Chris Madoyris, Michael Speedway, Paola Venturelli, Kevin J.
Villa for their invaluable contributions.
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
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