submitted by Cris

First of all, it depends on the country. Marks were introduced by each country at different times, and the rules and regulations involved can be very complex. Some countries, like France, use symbols rather than numbers, and so 925 would never have been used in those countries.

If you can find a copy of Tardy's International Hallmarks on Silver, you will have a better idea of what I'm talking about. I recently found a copy on the web site of "Ms. Information," a bookseller. A link to her site can be found on the Educational and Informational Sites page under Reference on my web site (last listing on the page).

information provided by Christie Romero

925 stands for 925/1000 parts of silver. it would not come into use until after the sterling standard was introduced by england in the later part of the 19th century. 800 830 835 900 are all part of the same system. ae metric. these standards all appear around the turn of the century at various time according to the descretion of the manufacturer. goverment standards have been set for centuries and vary as to marks and country. US silver companies such as Gorham and Tiffany often used both marks in the late 1800's. 

information provided by cbseel

Britain always used the standard 925 and had another standard which is 950 silver which was called Britannia silver (this Britannia silver is seldom seen) and instead of the Lion rampant or lion Pageant you would see Britaina.Britain never used a standard less than 925.Hence why British silver is sought after pre-1900 hundreds. Britain would not accept any standard below 925 as silver. Most European countries up until 1920s used 830s. Scandinavian countries used 830s silver like Denmark moved to using 925 silver in 1927 however even though a higher grade of silver was used by most jewellers in Scandinavia, they stuck to stamping there jewellery 830s as they did not have to pay a tariff to the assaying office for the change over to 925. So most Jewellery made by fine houses in Scandinavia will in fact be marked 830s but will have a standard silver of 925. Places like Egypt still today only use 830 silver

information provided by Vanessa Paterson. Retro Gallery

 I would just like to correct one point. Here in Egypt we have 900 silver and up (hallmarked) and thats the most common grade of silver we have here (this applies to gold too, we dont have 9 karat or 14 karat gold here. The lowest grade is 18 karat).

In silver jewelry you might find less grade depending on the design. This is mostly because its elaborate and demands specific grades to be more managable and workable as most of them are hand made.

Since the times of the pharaohs, silver and gold have been used at the highest grades here in Egypt.

information provided by Randa.

I've only run across the use of the number '916' in one instance, and that in conjunction with the letter H, ie '916H'. H is the first letter of the Finnish word for silver, Hopea, and '916H' is a Finnish designation for .935 silver, see Warman's Jewelry 2nd Edition, 'Marks on Metals' for a concise listing of many silver fineness marks.
'Tardy's International Hallmarks on Silver' is a great resource, and also includes the above info, and much much more, including information about the hallmarks used in Malta from about 1530 onwards. Both of the above volumes can be found available for sale online or at quality booksellers. Hope this helps!

information provided by Patrick Kapty

submitted by Sande

Hi Sande--    I'm a silversmith here in the US and often work in Ag  .980 I know many people that do as well.  In the states it is most often referred to as --fine silver--.  At 98 or 99 percent it is considered about as pure as one can get.  The are many reasons for using it over sterling silver.  In southeast Asia it is even more common.  Most of the imports currently being mis-labeled as hill tribe silver are done in Ag .980,  The smiths I've met over there prefer it because it is softer and easier to stamp and forge than sterling.  It melts at a higher temp and so folks over there do not like it for casting however.  Its hotter melting temp is one of the reasons that enamellists often use it here in the states.  Due to its lesser copper content it tends NOT to tarnish as much or a quickly. 
  
information provided by Mark Kaplan 

submitted by Sharon 

submitted by Myrna in Tulsa

I haven't seen this particular design before, so can't be sure, but the 'bird or animal with it's mouth open' could be the maker's mark for Auran Kultaseppa which is an eagle head with it's beak slightly ajar. Otherwise, you're correct about the remaining hallmarks.

information provided by Patrick Kapty

This time I have from my collection a wonderful sterling narrow twisted bracelet.

It is heavy in weight for its slim contour and on one end where there is the space to put it on the wrist is: sterling,then a capital A, then a half circle with spokes...much like a half sun.

submitted by Karen Ferrandi

CA with an arrow through it is the mark for Carl Art, Inc. of Providence RI, which is the listing ABOVE the mark on page 57 of Rainwater. Rainwater can be confusing, but just remember that the marks always follow the names and info in that book. The Carl Art mark has been in use since 1937. You can find this info on page 38 of Maryanne Dolan's Collecting Rhinestones & Colored Jewelry, 3rd edition, where the info is UNDER the mark. The marks section of this book is the primary reason for owning it (forget the prices! ;-). The book is now in its 4th edition, published by Krause Publications, but I don't know if there are any additional marks.

information provided by Christie Romero

Kaija Aarikka (Finland)

I suggest you contact Aarikka Oy in Helsinki for information on Aarrikka
hallmarks.  The email address is PauliinaAarikka@aarikka.com

information provided by Frederica

Aarikka jewellery is still produced today their are two shops in Helsinki that still sell the silver and wooden jewellery .Finland's jewellery is always stamped with a silver grade normally 925H,Aarikka also made a large amount of silver plated jewellery,which normally carries their name and Finland,this company also produce wooden giftware,hope this helps.

information provided by Vanessa Paterson. Retro Gallery 

submitted by Evelyn Yallen 

THE HALLMARKS BELONG TO A CATEGORY OF SO CALLED `` FANTASY`` MARKS, WHICH APPEAR ON MANY SILVER ITEMS PRODUCED IN EUROPE IN THE 19TH CENTURY. THEY RESEMBLE FRENCH HALLMARKS OF THE 18TH CENTURY (VERY OFTEN WITH VARIOUS CROWNED LETTERS,). THEY ARE COMMON ON ELABORATELY MADE SILVER ITEMS, SOMETIMES WITH CLEAR INTENTION TO DECEIVE BUYERS, THUS BEING PROPER FORGERY, SOMETIMES THE ITEMS WERE OPENLY SOLD AS REPLICAS OF THE 18TH  FRENCH SILVER. HALLMARKS WERE STRUCK ON SILVER ITEMS EVEN LATER , AND CAN BE CLASSIFIED AS CLEAR FORGERIES. THERE ARE THREE MAIN CATEGORIES OF THESE MARKS, BASED ON THE POPULARITY AND VALUE OF THE ORIGINAL SILVER:  1. FRENCH FANTASY MARKS, 2. HALLMARKS OF AUGSBURG WITH THE ACORN ACCOMPANIED BY VARIOUS FANTASY MARKS AND 3. NUREMBERG WITH CAPITAL N IN A CIRCLE AND NUMBER 13.

AT THE TURN OF THE 19TH CENTURY, THE TASTE OF THE COMMON BUYERS WAS RATHER CONSERVATIVE, I.E. THEY DID NOT ACCEPT EMERGING ART NOUVEAU STYLE, AND MANY SILVERSMITHS, EVEN WELL KNOWN COMPANIES PRODUCED SILVER ITEMS IN THE TASTE OF 18TH  CENTURY AND HALLMARKED THEM WITH `` FANTASY`` MARKS. I MYSELF HAVE A CUP AND COVER WITH NUREMBERG HALLMARKS OF THE 15TH CENTURY. BY PURE ACCIDENT, I DISCOVERED EXACTLY THE SAME CUP IN AN ANTIQUE SHOP IN VIENNA WITH AUGSBURG HALLMARKS.

LET ME ADVISE THE COLLECTORS OF OLD SILVER: IT IS NOT IMPORTANT NOT TO RELY ENTIRELY ON THE  HALLMARKS, BUT TO EXAMINE THE WAY THE ITEM WAS MADE. FOR EXAMPLE. HOLLOWWARE OF THE 18TH WAS HAMMERED FROM ONE SHEET OF SILVER, THEREFORE THERE ARE NO SIGNS OF SOLDERING LINES, EITHER ON  THE SIDES OR AT THE BOTTOM OF HOLLOWWARE. SOLDERING LINES CAN BE DETECTED EASILY BY MAGNIFYING GLASS EVEN ON WELL POLISHED ITEMS.

Information provided by Prof. Dr. Ivan Milovic 

Allan Adler (1916-2002) was a master silversmith who worked in the Arts and Crafts tradition, but expressed himself in the simple, clean lines of modernism.  He had a shop on Sunset Boulevard in Los Angeles, California and became popular among the rich and famous of Hollywood.

information provided by Marbeth Schon

submitted by Susan Crosby

I just happened to remember that there was an example listed in Christie Romero's book, Warmans Jewelry 2, on page 256 by Erling Christoffersen. The mark noted there is "EC" for that designer. The mark "AGE" in conjunction with the big N and the + sign and "Norway Sterling 925S" is for Anna Greta Eker,

information provided by Patrick Kapty

Erling Christoffersen was the manager of the silver workshop at Plus and Anna Greta Eker who apprenticed at the shop was also his wife = Anna Greta Eker-Christoffersen. Both designed jewelry for the shop with the Norway Design and Plus trademark.

information provided by Ginny

submitted by Paul Lemieux

Paul and SF,

This is one of the few synthetic gemstones that can be i.d.'d by "holding it up to the phone" - or in this case, e-mail! - because of its change-of-color in incandescent vs. natural light. What you most likely have is "synthetic alexandrite-like corundum," which has been around since the early 20th century. I  don't yet have an exact date for the development of change-of-color corundum (synthetic blue sapphire - corundum - was patented in the U.S. in 1911), but  I'm working on it for an upcoming gemstone timeline lecture. If I can come up with anything definitive, I will post it here.You don't say what metal your stone is set into, but if the stone is large and of good quality, it's most likely not natural. Natural alexandrites of any substantial size and quality are EXTREMELY expensive. So any eBay claims should  be viewed with a skeptical eye - caveat emptor!

information provided by Christie Romero

I saw a short while back a question on Alexandrite. The IGS on Alexandrite as relates to this. "While determining the exact origin of a gem is a matter for professionals, here is a brief guideline. If the gem has good clarity, strong color change, reasonable size, and your grandmother was not exceptionally wealthy, it is most likely a synthetic."

Not all color change stones are Alexandrite. One stone that has a very dramatic contrast (in good samples) is color change garnet; sapphires can also be color change. If that piece was made in the 1930's it may or may not be worth it to have someone look at it. African color change garnet can go for (up to 1 ct) $80 to $1200/ct (over 1 ct) $120 to $6000/ct, US garnets $25 to $40/ct and $35 to $80/ct. Natural color change sapphire $120 to $3000/ct and $300 to $5000/ct. All of this is of course assuming that this is top grade to exceptional. There was a discussion on chrysoberyl, some (if not most) of what is sold on TV etc. is chrysoberyl (alexandrite is a form of chrysoberyl). This is unfortunate in that chrysoberyl is a nice (and expensive) stone all in itself, especially if there is a color shift. "As of late, (the past four years,) there has been an influx of color change chrysoberyl. Their origin has been from various areas of South America, East Africa, and Sri Lanka Their color change typically ranges from Green to yellow, Brownish red to purple, yellow Green to bluish green. Other combinations are occasionally seen as well. .These have been marketed as Alexandrite and commanded very high to moderate prices. While they have a dramatic color change, they should not be considered as alexandrite. To a gemological laboratory, there are strict standards of color change that have to be met and observed before a chrysoberyl can be graded as an Alexandrite. . Do not be fooled into purchasing a color change chrysoberyl in place of the alexandrite. (Many of these stones can be seen on various T.V. shopping networks.) The price should be your first clue; just a good grade of alexandrite, in a size range of 1-2 carats, can demand a $2,500 per carat wholesale. Let me add this gem of information, (excuse the pun.) A color change chrysoberyl is not a common stone and also demands a hefty price. They are a great addition to any gemstone collection, but do not pay for an alexandrite when you not getting one. " (IGS)

Chances are this is synthetic; but you never know. Moreover it may come as a surprise to some that just because it is a synthetic, meaning here lab grown dose not necessarily mean cheap, some would be surprised at what some of that rough (before cutting) goes for compared to the natural, it is not cut glass. The better grades are expensive to make.

submitted by Lynn LaFave

Can't tell you a lot about ALTON, other than that it is definitely the workshop where the jewelry items were made. I have seen a few pieces by this maker, and almost all of them had different designer marks. The F in a circle, according to Tardy's, is the town mark for Falkoping, Sweden. My piece is from 1973, yours is from 1945, if T8 is the correct date letter. (Maybe you read it wrong? T9 is 1969 which suits your circa date more closely.) "Theunia" or "Theuria" would probably be the designer.

information provided by Patrick Kapty

submitted by Sheila Pamfilof

1830s-1925

early mark--not sure of dates

1925-  present

submitted by Jackie Weeks

information provided by Sheila Pamfiloff (and Sigi Pineda)

Per my interview with Sigi Pineda, he stated that Miguel Arias (mark M Arias) was a top notch enamelist that worked for Margot.

I have seen many of his Margot design works and they have generally been virtually undistinguishable from the actual Margots.

The enamel designs I recall seeing by him are:

# 5357 swirls
# 5372, Xs, both large and small
# 5384, leafy swirls
# 5406, leaves
# 5442 Greek key
# 5554 snake set

I don't know how long he worked on his own, but the pieces I've had/seen were with the eagle quinto and not with the later TX-##.

Overall, I feel his enameling is top notch.

information provided by Sheila Pamfiloff

submitted by Patrick Kapty

A. Sch. is the mark of Albert Scharning A/S, Molde

information provided by Mrs. Kit Froebel

submitted by Sharon Hepburn

The mark is for JAMES AVERY and can be found on page 30 of  AMERICAN JEWELRY MANUFACTURERS by DOROTHY RAINWATER.

information provided by Susan

submitted by Georgina Crawford

Anyone ever seen the mark "EB 835". This is on an arts and crafts sterling and chrysophase ring I just picked up.

submitted by Jackie Weeks

submitted by Paul Lemieux

Since 1970 her Bachrach Art Enamels have been exhibited in museums and galleries across the United States.  Her commission work has ranged from cloisonné pins to architectural panels and religious objects.

Lilyan Bachrach is also an author; her first, very successful book on enameling was titled Enameling with Professionals. She has just published a new, expanded edition of her first book titled, Contemporary Enameliing Art & Techniques that discusses the techniques and materials for using vitreous enamels and has "how I work" chapters by over 30 enamel artists who share their secrets of working with the techniques of cloisonné, plique--a- jour, champlevé, etc. There are photographs of the work of over 55 individual contemporary enamelists.

Bachrach is also one of the featured jewelers in my book, Modernist Jewelry, 1930-1960, The Wearable Art Movement."

Read Lilyan's biography at http://www.modernsilver.com/lilyanbachrach.htm
Order her new book at http://www.modernsilver.com/booksales.htm

information provided by Marbeth Schon

submitted by  Dorothy 

I believe that the designer of your earrings is Marjorie Baer, San Francisco. I would also like to know more about her and the jewelry she designed. I have had several pieces by this designer of mixed metals which I believe were made in the 1970s and sold at department stores such as Neiman Marcus.
Hopefully someone else knows more.

information provided by Marbeth Schon

Harold Balazs (b. 1928) is a Mead, Washington sculptor and enamellist.   He received a Bachelor of Fine Arts degree from Washington State University in 1951 and has worked in many different media throughout his career including sculpture, jewelry, furniture, toys, etc.  He is a well-known enamellist whose work is scheduled to be shown in a monograph about his life's work, published by the University of Washington Press. (from http://en.wikipedia.org/wiki/Harold_Balazs )

information provided by Marbeth Schon

Boris is a member of the Society of American Silversmiths and I believe Rainwater has included marks of the members in her latest edition of American Silver Manufacturers.

Boris says he marks his work like your mark indicates.  I am sending him an image of your cuff to see if he recognizes it.

information provided by Fred Zweig

(ca. 1987) I also LOVE that bracelet and remember it well..it actually has two annodized aluminum cyclinders, cold- connected with a silver bar- the idea was sort of a 'clamp' it eventually led up to the piece 'arachnid' which the MAD has in the perm collection..and on to the Constrictor, etc..

information provided by Boris Bally

submitted by Roger

information provided by Marbeth Schon

submitted by Helena Goldsmith

Southwest-based artist TRINA BADARAK, worked in jewelry in the 1980s. She has since moved on to work in other media and hasn't made jewelry for sale in many years.

information provided by Martha Trachtenberg

Bauring was a company in the 1930's started by a man name Baur. Baur designed and made the jewelry. his company was financed by a guy name Ring -- also the company accountant. He died around 1943. After he died the mark became BaurING -- capitalized for Ring. Hope that helps!

information provided by Anna (Walczyk) Meriwether

PS my grandfather made jewelry for Bauring before he went off to war and then when he came back until about 1949
 

submitted by Gail

submitted by. Rosalie Isaacs

submitted by Ellen from Santa Cruz

submitted by Jackie Weeks

information provided by Marbeth Schon

submitted by Adrienne Shivers

A Rabbi told us of a school in Palestine pre 1947 by that name. The school was either a jewelry school or produced some great hand crafted jewelry from a part of the school.The school may still be in existence today. I thought the name was spelled Belzalel but perhaps the t and the l looked alike.

information provided by Lonny Rosen

Bezalel was a school for arts and crafts in Jerusalem that was founded by Boris Schaatz in the early part of the 20th century. I have seen tiles, jewelry and ceremonial paraphernalia, and carpets. I have not found that the market for anything other than carpets was very strong, although I would assume pre-WWII ceremonial accoutrements would be. There is a lot of information on the school relative to its carpet production in a book titled Jewish Carpets.

information provided by Lewis Bobrick

Your pieces could have been made by the Birmingham Silver Company which previously was the Goldfeder Silverware Co.  They made silverplate and their
mark was a large crown and a "B" and "S" They also used a crossed key mark. According to "Rainwater's book Encyclopedia of American Silver Manufacturers," they are still in business in New York.

information provided by Marbeth Schon

Weckstrom, "BW" mark--sometimes also marked "BJORN"

Thos pendant is part of the space silver range that Bjorn designed back in 1968.All of Bjorns works do have names and yours is called O2x. A book will be printed in about 2 years time with all the names and dates these items were made.

information provided by Vanessa Paterson 

A bit more information----I have an ad from Vogue 1941 for Black, Starr & Gorham--it was located on 5th Ave. at 48th St in NY--there was also a location in East Orange (which I assume is New Jersey) have another ad from Harper's Bazaar in 1941 for Spaulding-Gorham in the Drake [hotel] in Chicago.

information provided by Pat Seal 

Black, Starr & Gorham was on Fifth Avenue, but was around later than the Depression. The turn of the century Tiffany competitor, much loved by the very rich, was Black, Starr, Frost & Gorham.

information provided by Jane Viney Ridge

This is from a Seattle based website, but at least it explains a little about the American Protective League -- interesting!

http://faculty.washington.edu/gregoryj/strike/Minutedoc.htm

The Seattle Minute Men was a division of the American Protective League which operated under the jurisdiction of the Department of Justice during the early 1900’s. It was a volunteer spy organization responsible for gathering and reporting information regarding all violations of war and espionage acts and proclamations. In Seattle it played an important role by investigating reports of T actions of the I.W.W. before, during and after the Seattle General Strike of 1919. The first recorded meeting of the Minute Men took place in 1917 at the Seattle home of William J. Alvay, but following this initial meeting, they were often held at a Public School near Ravenna.


information provided by Marbeth Schon

fhb is the mark for Fances Holmes Boothby who worked in the 1950s. She taught jewelry making in Troy, New York and also in Vermont. She exhibited at the Walker in Minneapolis in 1955.  Her work was mainly done in sterling silver, sometimes with ebony and/or stones, though she did work in gold, plastics, and brass. She is known for her small, whimsical "bird" brooches with wire legs.

Boothby will be discussed in my upcoming book for Schiffer, "Modernist Jewelry, 1930-1960, The Wearable Art Movement."

information provided by Marbeth Schon

FHB is the marking of Frances Holmes Boothby.  All her pieces are hand made.
She had no apprentices.  She produced pieces from the 50's to the mid 80's
in upstate, NY & Weston, VT.  She retired to Sedona, AZ & took up quilting.
She died, I believe, in Jan, 2001, or possibly 2000.

information provided by Kate Staman
 

information from http://en.wikipedia.org/wiki/Porter_Blanchard

information provided by Marbeth Schon

Hogan & Bolas has been making "Handcrafted" jewelry
in Providence, Rhode Island for over forty years. Started by Robert Hogan and Elizabeth Bolas -Rhode Island School of Design students - the company produced jewelry designs in copper and bronze. The artists also experimented, successfully, with various enameling techniques. Pieces were produced using traditional metalworking, combining hand and machine work.

Over the years, the company broadened its line to include Sterling Silver. in addition, themes, such as Nautical/Sea Life have been added to the line.

Although the styling has changed over the years, Hogan & Bolas continues to produce fine, "Handcrafted" pieces in the tradition of the original founders. Since 1991, my family and I have operated Hogan & Bolas. We strive to provide you with our classic styling, an exchange program and a lifetime warranty. (from http://www.hoganandbolas.com/about_us.html)

information provided by Susan in California

Borrensen & Lassen

information provided by Marbeth Schon

submitted by Sue Sinclair

submitted by Heather

S. Borup is for Soren Borup, who worked in Denmark in the 1960s

information provided by Marbeth Schon

Hi Patsy, nice bracelet! The 2 is actually a stylized q and the bracelet is, Birminham, Sterling, and dates 1965 from Jackson's book of Hallmarks.

information provided by Joanne

information from http://www.collectoronline.com/9707/PictPage/1922893428.html

submitted by Paul

submitted by Lisa Youel

submitted by Lonny Rosen

I found examples of jewelry by IRVIN AND BONNIE BURKEE shown on page 96 of Neumann's "the design and creation of jewelry" revised edition, 1975. it doesn't give any other details about them.

information provided by Susan Crosby

Irvin and Bonnie Burkee are a husband and wife team who have been creating jewelry together since the late 1940s.  They produced one-of-a-kind as well as limited production designs that were successfully marketed through various craft galleries throughout the U.S.  Read more about the Burkees in my book, "Modernist Jewelry, 1930-1960, The Wearable Art Movement."

information provided by Marbeth Schon

submitted by Marbeth Schon

This mark is for J.B. Hamlin. A piece showed up on Ebay signed "J.B. HAMLIN" with the same pine tree mark.  It was a sterling pin in a boomerang shape with an free spinning spherical green stone within an "eye-type" opening. Thanks to Fred Doloresco for finding the auction.  So far I have been able to find no other information regarding J.B. Hamlin.

information provided by Marbeth Schon

Dorothy Rainwater lists James B. Hamlin as a pewterer in North Bridgton, Maine as of 1975. Obviously, Mr. Hamlin also worked in sterling as we found this nice butter spreader with his mark at the Pier Shows earlier this month. Just wanted to share the mark with you. The pine trees seem very appropriate for Maine.

I own a catalogue of contemporary silver shown at the Brooklyn Museum in 1937. It was from the estate of Mr. Hamlin and in it he writes that he worked in the workshop of Laurits Christian Eichner in Blumfield, NJ during 1936 to 1941. Does anyone have further information on this craftsman?

information from SMP silver salon forum and Fred Zweig

submitted by Karen Foggin

VB is for Volmar Bahner & co of Copenhagen Denmark.

information provided by Vanessa Paterson

Vanessa has ID'ed Volmer Bahner, and I can tell you that the pin depicts a scene from Hans Christian Andersen's fairy tale "The Emperor's New Clothes". This is the famous walk through town where a little boy finally points out the truth...that the Emperor's new clothes are imaginary, and that he is naked.

information provided by Annette, Oakland, CA

"Canada in fact does have a Standard Mark for sterling silver items.They are not always marked with the C and Lion's head.  I am not certain why the Dancraft items were marked with this standard unless it was a requirement for import.

information provided by Fred Rezazadeh

Toni Catanzaro

From "The Little Book of Mexican Silver Trade and Hallmarks" by Bille Hougart

information provided by Marbeth Schon

 This is an Egyptian silver cuff bracelet that was fashionable in 
the 80's. As for the hallmarks you mentioned, those are a Cat and the bird is Horus the the ancient Egyptian falcon God. Sometimes you will find a Lotus instead of the falcon. The cat stamp was used around 40 years ago here. The more recent hallmarks are the Lotus and sometimes just a number indicating the percentage of silver ( A zero in arabic is a DOT so that might be what you are refering to when You said a '.' sign). Unfortunatly I could not read the hallmark on your pictures as they were un clear.

This paritcular design of bracelet is no longer being made though we still find it and even older designs in old antique shops and bazars in Khan El Khalili in Egypt.

By the way, it is a typical Egyptian thing to stamp/hallmark an item on its front face besides other parts.

information provided by  Randa.

submitted by Rosalie Isaacs

The C& C mark is Clark and Coombs--Providence, RI --according to Rainwater's book.

information provided by Pat Seal 

from: http://www.pepecerroblanco.com.mx/in01/pepecerroblanco.php

submitted by Marbeth Schon

submitted by  Deb

The chalice mark is the mark of New England Glass Works.  The letters inside the chalice are NE.  New England Glass Works closed during the 20's.  Hope this helps!

information provided by  Nancy Sotelo from Minnesota.
 

information provided by Marbeth Schon

Maxwell Chayat (1909 - 1982) was born in Paris, but came to the United States as a child during World War I. His work was prominent in private collections and synagogues in Syracuse. His sculpture ''The Sentinel'' stands outside Crouse College on the Syracuse University campus. His work has been shown at the Smithsonian Institution, Cooper Union, the Jewish Museum of New York and the Newark Museum.

From  Modernist Jewelry, 1930-1960, The Wearable Art Movement

information provided by Marbeth Schon 

Orfevrerie Christofle was founded in Paris France in 1830. They certainly worked in sterling, but were also the first company to offer silver plate in France. The mark I'm familiar with for Christofle was a bee in a wide diamond-shaped cartouche with a "C" on either side and three stars at the top. I'm not able to comment on the rest of the marks.


information provided by Marbeth Schon

           n102

            M "      

submitted by Jackie Weeks

It's probably Russian ie CCCP is Russian (cyrillic, I believe) for USSR. I'm guessing that the B Coenand is the maker mark. The M mark is probably the district mint mark, no idea which one. I don't see any equivalent in Tardy's for the other marks, so this piece may not be sterling.

information provided by Patrick Kapty

CCCP *is* (was) the Russian (Cyrillic) initials for USSR, but I've seen a couple of Socialist-era Russian pieces, and they all have a sickle-within-a-star hallmark.

information provided by Marilyn

"Coenand B CCCP" means "Made in USSR" and "n102" refers to the style number of that particular item. Not sure about the "M," although it may refer to the city of manufacture. I've been researchng Russian jewelry markings for some time, purely out of personal interest. It's a tricky business as many of the marks just don't appear in any sort of guides unless the pieces are of especially fine quality.

information provided by Linda in Philadelphia

"EC" and "ND + , Norway, Sterling"

submitted by Jackie Weeks

The Norway Design/Plus mark in question has the initials "EC" which stands for Erling Christophersen (b. 1932), the husband of Anna Greta Eker, and the person who managed the Plus silver workshop in Fredirkstad. For those who may not know, Greta's mark on her silver jewelry is _occasionally found with Christophersen as her last name. Brief biographies of both of these individuals is included in my forthcoming book, Collectible Silver Jewelry, available this fall.

information provided by Fred Rezazadeh

submitted by Adrienne Shivers

submitted by Marbeth Schon

(Example is a pair of  cufflinks, marked "Castelan also with a pre-hispanic theme, as was Marbeth's pin. On the front of each link, which depicts a male figure, by the way, it also says TLALOC in block capital letters, clearly meant to be part of the design.)

(submitted by Rosalie Isaacs

We don't know who Castelan was. I don't think that it's an attempt to confuse anyone, as the mark is quite different fron Los Castillo. Marbeth was wondering, because of the similarity in style and design if this was a Los Castillo design (actually, I'd guess Margot?) that was put out by Castelan, but we were pretty sure, from the beginning that it was not an actual Los Castillo piece.

The eagle #15 is a Los Castillo eagle #, but the #s were often mis-used, confused and used by others, so that is not a reliable ID. You may have a Los Castillo design that may have been pilfered after it was stamped #15, but before it was stamped Los Castillo. Or, it could be an original design by Castelan, somehow with the #15 on it. It's also possible that someone from Mexico City used a #15, or from other parts of Mexico. (Notice that Marbeth's jpg of the mark doesn't mention Taxco, but is marked "MEX", which probably indicates Mexico City.)

Due to Don Antonio's illness, I was never able to ask him the specific question regarding "Castelan", and my emails of the jpg bounced back, so, he never had a chance to see Marbeth's jpg. I was hoping that he might be able to identify the piece as his origianal design and 'Castelan' as one of his craftsman and give some additional history.

In many other previous discussions, he always assured me that all of his items were marked "Los Castillo". Some had additional 'line' names, such as 'Cobre Artistico', 'Metales Casados', etc., but they all should have the Los Castillo mark, also.

Sheila did buy a new bracelet from him that was only marked 'Sterling 925', and when she pointed it out to Don Antonio, he had his worker come in with the "Los Castillo' stamp. Thunk, and it was now marked! So, some pieces get missed, occasionally.

There are many duplications of his designs, even in the difficult 'Married Metals' pieces, which were probably done by his craftsman, on there own, or even possibly snuck out of his shop and stamped with their own stamp. Sheila had, at the same time, the Aztec Warrior pendant by Los Castillo and another marked "Metales Casados, Hecho in Mexico". (Not Taxco as Los Castillo's would have been marked). They were virtually identicle.

We were fortunate to be able to have Sigi Pineda identify 2 of Margot's copyists who were her workers that had obtained Margot's origianl molds; "M Arias" as Miguel Arias from her enamel department and "HL" as Hilario Lopez, one of her silversmiths. Penny Morrill has, of course, identified "Alba" as the work of her former manager Jaimie Quiroz. You'll find some of her enamel snake sets with this mark. Many of Margot's enamel snake sets are also marked "MR", which is a mark used by Melicio Rodriguez, who also worked for Margot.

information provided by Glenn Pamfilof

submitted by Jo-an 

Don't we all! Unfortunately, there is only a broad circa-dating range that we can infer from the marks on Los Castillo pieces - or most other Taxco makers', for that matter.

The makers of the things we love and collect weren't thinking contact us and posterity when they marked their wares. They just wanted to identify their work and, in the case of design numbers, keep track of the designs in their 
inventory. And in the case of assay marks, they were following government regulations.

A certain amount of circa-dating can be guessed at from the designs themselves, which followed current trends, and their techniques. For example, Los Castillo was known for introducing the technique of "metales casados" - married metals - around 1950-51. So we can associate metales casados pieces with the 1950s and 60s. When the popularity of these designs waned, so did the teaching of the technique to apprentices. Now there is virtually no one in Taxco who practices it.

Information provided by Christie Romero

information provided by Marbeth Schon

I have the famous parrot design that won the Taxco silversmithing contest in 1953. It has been in my family since 1953 or 1954, and was purchased by my father in Taxco. It does not say "Los Castillos." The hallmark is "Metales  Castillo" . It is married metals, and it is possible that it is a copy of the Los Castillos design, I suppose.  I would like to ask Ms. Pamfiloff if she is aware of the use of the hallmark in the early days of the Los Castillos Silverworks.

submitted by Jane Heidelberg

I'm curious about the difference in hallmarks. I have a necklace that is tubes of silver, brass and copper soldered together forming sections.They are then "strung" together creating a "collar". It is stamped METALES COSTILLOS  MADE IN MEXICO 199 on the back of the clasp.

I would love to know the difference between pieces stamped LOS COSTILLOS and METALES COSTILLOS.

submittted by Karen 

Hi Jewel lovers, especially Mexican silver lovers!
I have a very cool bracelet, which looks like it could be Los Castillo, but it is only marked 925 HECHO EN MEXICO, then something I cannot make out, and METALES. Did Los Castillo ever mark pieces this way?

thanks! 

submitted by Ellen 

Yes, "Metales Castillo" is a valid Los Castillo mark, that was often used for a variety of mixed metals. I think you mentioned in an earlier post that it had a design number #63, which is the correct design number for that series, and that yours has the eagle #15, which is also correct. Voila! Yours must be a legitimate c.1953 vintage Los Castillo pin.

information provided by Sheila Pamfiloff

I have several pieces of mixed or married metals
that are variously signed "metales" or "metales casados" but are not Los Castillo. Equally mysterious are the piedra negra and mixed metal pieces by the artist Tono, who is often confused with Antonio Castillo or Antonio Pineda. My best guess is that these guys learned their stuff at Los Castillo
or from former Los Castillo artisans. Most Los Castillo mixed metal pieces that I've seen are signed "Metales Castillo".

information provided by Kim Matthews

submitted by Jackie Weeks

"D.E. CHURCH"

submitted by Julie Sferrazza

There is a shop called "Rebecca Collins" in Dallas. I don't know if it's the same one.

information provided by Marilyn

Eva Mariam Cone

I recently purchased another piece of jewelry by Ella L. Cone.  I believe that she was a studio jeweler working in New York in the 1950s.   She used findings marked: "T-2" as did Ed Wiener. The brooch I purchased is marked clearly "Ella L.Cone".  
submitted by Marbeth Schon

Sorry I cannot help you with your question but I wanted to add a comment to the mystery mark  list and am unable because I do not have a yahoo account.  There is a mark  "EllaL Cone" .  I have cufflinks with this mark in 
thier original presentation box which reads "The Silversmiths' Shop",  "ELLA L CONE " "225 Berkeley Street, Boston 16,Mass" and on the bottom ":Hyannis  
Rockport".  If you add this to the mystery mark  information I would be much obliged.

information provided by Elaine from Connecticut

Eva Mariam Cone:  Eva Mariam Cone taught metalsmithing at Moore College of Art for 40 years or so.  She studied in the Boston area in the late teens and early 20s with famed American silversmith George Hunt. She was about 90 years old when interviewed by Gail Selig in 1982. She was a pioneer, as far as women go, in silversmithing in Philadelphia and had shows throughout the Philadelphia and Boston area. She vowed never to wear any of her work in front of her students for fear of influencing them.  Her work had a strong Danish influence, though she used many Mexican motifs.  Whether her work was hallmarked is a mystery.

information provided by Gail Selig

submitted by Ellen S.

submitted by Julie Kontor

JPC in an oval cartouche on an arts and crafts piece would probably be John Paul Cooper: an important English silversmith/jeweller working in late 1800s -c1930.  Member
of Artificers guild, worked with Henry Wilson and had his own workshop in Kent, England.  A book was written about his work in 1999.  

Information provided by Anne Pyne. 

The beads solid silver heavy with filigree wire work and granulation with as fine a quality as old Norwegian work. There are 50 smaller beads (1/2") and 4 larger beads (3/4"). It is marked Hencno(?) Mexico (made in Mexico) CEURNAVACO. Ceurnavaco as I understand it was an active silver making area very near Taxco. And the makers mark is ED.

submitted by Pat Talbott

Can anyone out there give me some information on this necklace. The marks are very tiny. From what I can see there is a diamond shape with a half of a sun rayonnant (as we say in France) and then what appears to be a 5 lobed circle with a crab in the center. The marks are too tiny to photograph let alone see clearly. 

submitted by Julia

The marks sound like French hallmarks to me. The 'crab' mark is the Paris mark for silver, usually 800 silver I believe. The 'sun rayonnant' in a navette-shaped reserve ie diamond-shaped is the maker's mark, but I've no idea who it's for as I don't have a listing of French maker's marks. If anyone knows of a listing of French maker's marks, and hopefully how to get a copy, please let me know too. There's a good picture of the 'crab' mark in the "Marks on Metals" appendix to Warman's Jewelry 2nd edition, by Christie Romero.

information provided by Patrick Kapty

information provided by Erick Yang

I have an angela cummings huge necklace "orchid" and was wondering if anyone has any information about her...I know she works at Tiffanys but the piece is dated prior to her work being featured there..I think at one point she was selling her jewelry in Bergdorf's

submitted by Jackie

submitted by Louise

submitted by  John B

On Danish pieces two towers instead of three towers indicated that the items is silverplated.

information provided by Fred Rezazadeh

submitted by Roger

I came across your 'mystery marks' site, searching for the name Erik Dennung, as I have just acquired a beautiful handmade silver ring in the shape of a rose with his mark on it - in a flea market! I found a question on your site concerning his name. As I live in Copenhagen, Denmark, I tried to look up the name in the yellow pages. It seems that Mr. Dennung is very much alive: actually he has his own shop, situated in Copenhagen, by the name of Dennung Sølvsmedie Aps. Regretfully, I have no further information about his career.

information provided by Fie Lundsgaard Olsen

submitted by April

The patent number is for the design of the earclip  backs and has no bearing on when the earclips were actually made. DeRosa used  sterling from 1942 until 1949 and so your earclips would have been made during  that time period.

information provided by Pat Seal

submitted by Sharon

submitted by Rosalie Isaacs

The mark is a large conjoined ND for Norway Design (which looks more like a big fat N), often seen in conjunction with a + sign for Plus, the applied arts workshop in Frederickstad, Norway, where Tone Vigeland, among others, worked in the late 50s. Your piece only has the one mark, and I'm not sure what that means.

information provided by Christie Romero

submitted by Susan Williams

I saw a bracelet on the website 'The Lush Life' that says AE in a  heart is the mark of Abraham Paz, which is confusing to me. 

How can AE be the mark of EP?...Estella  Popowski?  This is completely baffling.  Anyone out there know about  this??

submitted by Marj

submitted by Ellen Solway

The best place to read about the Mexican eagle or bell mark is Mexican Eagle Marks  The use of the eagle mark is described and there is a list of attributed eagle mark numbers.

As far as your other question regarding design numbers on pieces, it depends on the piece. My experience has been that design numbers designate a piece that was made in a series so it is not one of a kind. There is a nice explanation of design numbers on Georg Jensen pieces on page 297 of Janet Drucker's book, "Georg Jensen, a Tradition of Splendid Silver." She says that "Design numbers were given to each piece of jewelry and hollowware. Numerical order was the placement of production numbers, although there are many exceptions.....Generally, one could expect that lower numerals mean an earlier year of production.

In "Mexican Silver" by Berk and Morrill, there is an explanation of Inventory or Design numbers in the glossary. It indicates that design numbers designated designs in an inventory and usually a smaller number meant an earlier piece. 

Of course, unless you have documentation of the dates certain numbers were used, it's very difficult to date a piece using this method.

information provided by Marbeth Schon

It occurred to me after reflecting on a conversation I had with Jim Tracy pertaining to this query that the eagle mark #1 may have evolved through the advent of several possible scenarios.

One possibility is that it was placed on certain pieces of old inventory from pre-1945 that Spratling or HIS MEXICO CITY OUTLETS had in stock after the requirement for the eagle mark came into effect

In addition, it appears to have been used on certain pieces from 1949-55(or whenever the simple script WS actually began and ended). 

The aforementioned pieces that fall into either time span may have represented: @ pieces that Spratling himself worked on and retained in his own inventory during this period but BEFORE he was assigned the eagle marks 30 and 63;. b) pieces in the inventory of his Mexico city outlets, including Conquistador and such outlets as Casa Calpini, before he was assigned the other eagle marks. In this event, the Mexico City shops may have stamped the pieces in inventory with an eagle 1 to comply with the requirement before they were actually sold to customers. 

c)An additional possibility is that those pieces actually manufactured at the ranch during the late40s/early fifties were not intended for export to other countries,but rather represented a very small group of pieces made either by request; as prototypes or models for Conquistador , or for sale on an extremely limited basis to local or visiting customers by request or commission. Since these items were not intended for export, Spratling may not have applied for any eagle mark at all because production was so limited, and it is my understanding that the eagle mark was only required on items designed for export or actually exported (or possibly those sold to foreigners-I've always been uncertain about this) as evidence of standardized silver content. 

If any of these pieces eventually found their way to Mexico City, and were ultimately exported or sold by Mexico city shops, the eagle 1 may have then been applied.

A final possibility is that the eagle 1 was the very earliest eagle mark authorzed by the government, and that it was generally used during a transitional period until each taller was assigned its own particular mark. In this case, it might have appeared for a limited time on the pieces of several tallers, including the Spratling ranch.

If anyone would care to comment on the foregoing hypotheses, your participation would be greatly appreciated... 

Best regards: Jill Crawford

submitted by Heidi

submitted by Roger

Alma Eikerman taught at Indiana University in Bloomington until her retirement a decade or so ago. She passed away several years ago. She did jewelry, but was also very well known for her holloware.   information provided by Mary Hu

Submitted by Marbeth Schon with help from Ilka Weiland

information provided by Randa

submitted by Patrick Kapty

submitted by  Jan Kramer

submitted by Heather

Gertrude Engel designed her jewelry based on plant-life found along the Danish Coast; she designed for A. Michelsen during the 1950s. (from European Designer Jewelry by Ginger Moro, page. 250)

submitted by Marbeth Schon

submitted by Marbeth Schon

Your piece is silverplate, possibly English.  The "R or K, then PNS" you mention is actually "EPNS," or Electro-Plated Nickel Silver.  The other initials are for the maker.  The other mark is sometimes called a pseudo-hallmark because it resembles silver hallmarks, but is not one.  The idea was to make the consumer think the item might be solid silver.  Such marks as you describe--EPNS, initials, and a pseudo--are common on English plate of the Victorian era.  The # is the factory number to identify the piece in inventories, etc.

I am not a silverplate specialist, so I don't know exactly who made it.  You might want to try the site:  http://www.smpub.com which is a discussion board about silver (topics include: solid silver, silver jewelry, plate, coin silver, etc.).

information provided by Paul

I believe the mark is for Daniel Espinosa of Mexico
information provided by Nancy Pena
 

submitted by Lillith

submitted by Roger Erickson 

There is no one style to the pieces I have seen, and also, they have ranged in quality from so-so to very good.

These are the pieces I have handled by this GFMW: -a stepped, trapezoidal piece of silver with a rose quartz cab.  Not that great quality.-a figural design of a needle piercing a wavy piece of "fabric" (which was just unbuffed silver).  Also not impressive quality. -a black oxidized silver frying pan, with a fried egg in its bowl (the white was buffed silver, the yolk a topaz cab).  This was very fine quality and also innovative in its design.

I don't have anything by them now, so I can't post a picture, but I havem been wondering about the mark for some time.

submitted by Paul

most of the pieces i've seen marked that way are 1930's. the 1940's pieces are usually stamped ORIGINAL FAHRNER (but some of the 1930's pieces are also marked that way). tf marked their pieces many different ways (even during the same period), but my guess is definitely after gustav braendle took over the company.

information provided by Ramona Tung

submitted by Nancy Shadforth

Hello!
While reading the texts of the link "Mystery Marks", I've found a
question to the hallmark "FBM".
FBM might stand for Binder, a german manufacturer from Mönsheim.
They produce individual jewelry as well as mass productions and are
well known for simple chains.

Homepage: www.binder-fbm.de

If you're still not sure, if the hallmark contains to Binder, perhaps
you can write an email with a photo of the mark!?

information provided by Luci

submitted by Paul 

Please see http://www.modernsilver.com/macefield/macefield.htm for information on Leonard Field. and William Mason

Harold Clifton Fithina (1905 - 1972) was an artist/actor/jeweler who lived and in the Los Angeles, California area.  He signed "fi" and (later on in his career, I believe) "Fithian."  Please see http://www.eaglesweb.com/Sub_Pages/harold_clifton_fithian_prodserv.htm

information provided by Patrick Kapty

(mark for Fishel)

Looks more like the Fishel mark to me. This is one of my favorite marks - a fish with an L in its mouth, like a rebus (remember those? I guess I'm dating myself! ;-)

One of the points of my upcoming lecture on marks for the West Coast Antique & Period Jewelry Seminar will be that the mark stamped on the piece is seldom as clear or well-defined as the drawing of the mark in the book. And variations of a mark are not uncommon.

You can find other variations of the Fishel mark in Rainwater's American Jewelry Mfrs. under Fishel, Nessler & Co. The company also had another mark that looks like a coat-of-arms or family crest, with an arm holding a hammer, like Arm & Hammer baking soda.

information provided by Christie Romero

submitted by Lillith

My grandmother gave me a bracelet that is just breath taking !! Sterling silver with what seems to be green Onyx oval stones(7) On the back of this piece it has an Eagle with the # 13 along with a little round stamp that I cant quite make out. I know it is Mexican and must be @ least 50-60 years old Can anyone give me The background for this piece and value ???

submitted by Martha,

You are up against the "Taxco mystery" when it comes to marks.   Until the present day code system there really wasn't any coherent system of recorded hallmarks (the eagle/number thing is barely useable) and the silver business in Taxco was  (is?) so chaotic that there are often as many dead ends as answers.  We're talking Mexico here, not England or Denmark.  While a huge amount of investigation and scholarship by hard working authors and collectors has helped tremendously, there is much that, sadly, will never be known.  "G" will probably always remain G.  I have had some Mendez pieces using copper and silver together, and a few all silver pieces.i  Embrace the mystery!

 information provided by  Cris T.

Check the information in "The Little Book of Mexican Silver Trade and
Hallmarks". by Billie Hougart.  According to the book on Page 117, "Eagle
Number 13 (William  Spratling) has been seen on items of other well-known
maker, including Los Ballesteros. FAR FAN and Antonio Pineda.  Eagle 13 was
assigned to Spratling for his own use, and for his designs made at
Conquistador, and should not be expected to appear on non-Spratling items."
According to the book, FAR FAN was a jewelry maker in Mexico City.

information provided by CoralCarol

Yes, indeed this IS the FAR FAN mark. Bille Hougart's book also has it, but since you haven't gotten your copy yet, I figured I should tell you. No info on the maker, except that the shop was (is?) in Mexico City.

submitted by Fred Zweig

submittted by Jackie Weeks

I believe that the earrings were probably made by studio jeweler J. Arnold Frew, who worked in California, I think maybe the town was Arcadia. He made quite a bit of jewelry for Hollywood types. There was an article about him in the magazine "Craft Horizons" in the late 50's. Earrings aren't common, he made more rings.

"FRIDL" and tulip with two leaves
stretched out in opposite directions

(mark for Fridl Blumenthal)

submitted by Lolly Commanday

I have seen this name on several pieces of jewelry and like this maker.  I have a pair of earrings, but can locate nothing about this designer or maker. Please assist if you know who this is. 

submitted by Donna

To add information to the questions by Lolly Commanday and Donna re the FRIDL jewelry signature.  I have a lovely piece signed the same way--with the tulip.   My research reveals a Fridl M. Blumenthal, b. 1905 in Berlin  and died 1998 who knows where, has a piece in the Smithsonian collection and was featured in a show at the University of Chicago in 1966.  I have not seen the mark though.  This may help or confuse.  I'm still searching.  I'll welcome any help.

I believe that the Fridl mark is for Fridl Blumenthal who, with her husband, fled Nazi Germany in 1937, coming to Pittsburgh and then New Jersey and later to Park Forest, Illinois.  After reading a book about wire jewelry, Fridl started creating jewelry. She studied with Chicago silversmith Anna Halasi. In 1948, she walked into the Georg Jensen store and received a contract for future work.  She also created for Cooper in Philadelphia and Marshall Field in Chicago.  After working with silver for many years, she switched to gold.  Following her husband to Belgium, her proximity to Dusseldorf where she fortunate to be able to study with Friedrich Becker.  She used stones cut by Bernd Munsteiner. Most of her work is small-scale sculpture and jewelry of "never failing" interest.

 information provided by Marbeth Schon

Born Frieda Michaelis in 1905 in Berlin Germany
Trained as a sculptor
Married my father, Bernard Blumenthal in 1934 in Berlin Germany and
subsequently used the name Frieda M. Blumenthal
Emigrated to the United States in 1937
Died 1998 in Bethesda, Maryland.

She spent many years making jewelry, first in silver and then in gold.  As
an artist she used the name Fridl Blumenthal and the trademark that is
shown in the attached file.  The graphic below her name is a stylized
version of the German name Blumenthal.  In German, "blumen" is the word for
flower and "thal" is the word for valley.

information provided by Dr. Ralph Blumenthal
Holmdel, NJ

Friedell gained notoriety with Pasadena carriage trade for whom he created a "series of heavy silver 'equine portrait plaques' for his horse-loving customers. He received numerous commissions, and was highly sought after as a maker of trophies for organizations including the one that ran the Tournament of Roses parade.  He set up shop in the Hotel Maryland, one of Pasadena's swankier resorts, and did well enough to retire in 1921 to Texas. " In 1927 he moved back to California and up shop on Pasadena's main street where he remained until his death in 1963.

Information from Chicago Silver http://www.chicagosilver.com/friedell.htm

I've been missing in action for a while, but couldn't resist commenting on this one as it comes from my home town.
OSF is the hallmark of Otto S. Friis of Kolding, Denmark. This is a very early example of the Danish Arts & Crafts movement. The maker is contemporaneous with the great Torvald Binderboll, who defined the Danish Arts & Crafts movement in many mediums, most notably in silver and ceramics, though he is also represented in museums by his furniture (he was a sculptor by education).

Otto Strange Friis is mentioned once in Jacob Thage's Danske Smykker/Danish Jewelry. On page 126 there is a picture of a lovely and delicate necklace produced somewhere between 1905-10. Here is it said that Friis exhibited his work in the first Skonvirke exhibition in 1907, and his work was praised on par with Georg Jensen and Erik Magnussen. The eBay piece was produced in the timeframe 1893 to about 1915 in accordance with the 826s silver standard. It could certainly be earlier in that time frame rather than later as many silversmiths switched earlier on to the 830s silver standard.
Of note is that the piece pictured in Thage's book is in the collection of Jorg Schwandt, a dealer and collector of note in Berlin. Schwandt is one of the foremost experts on Danish silver of the last century or so, and has co-authored several museum catalogs/books published by the Museum at Koldinghus (www.koldinghus.dk). While the eBay piece in no way approaches either the delicacy or the workmanship of the piece illustrated in Danish Smykker/Danish Jewelry, it is interesting in its use of coral and amber, both carved and cabbed. It is a work by a recognized master who produced very little.

The rarity and origin of the piece, even though it was NOT spectacular, set the price.

information provided by Annette R. Floystrup

submitted by Lisa Youell

submitted by Roasalie Isaacs

Hi silver forum and Rosalie,yes your brooch will be N.E. From which is Niels Erik From,the stone used is reconsituted amber,which is amber pieces that have been pressed together the stone will have a brown swirls to it,he never used block amber which is natrual amber,untreated.n.E.From was born in 1908 and trained as a silversmith in Denmark,in 1931 from opened his own shop selling his designs as well as other jewellery designs,from this he went on to build a factory,exporting his designs across Europe,in 1960 he collaborated with his son in law to form a management team and Hilmer Jensen {N.E. From son in law} joined the firm and 1966 and took over the firm in 1986 after N.E. From died.The factory is now closed but the building is still there today with all the tools in tact and many items of froms work,which there grand daughter now owns,a dealer and some of this jewellery is still being sold through some outlets even though the factory is closed.

Froms designs were always floral,the other designer that worked for the company in the 60s and 70s designed theabstract forms we see, I can not think of his name at presant but will post it when i can remember.Most of the marks vary,rings tend to just carry from 925s marks due to the space and some other items also carried this mark,really it is the style that will guild you to a time frame and not the hallmarks absracts froms are from the 60s and 70s floral designs from the 50s.

information provided by Vanessa Paterson

I have a number of pieces by N.E. From. One of the pins is similar in design to the necklace set in Fred R's book (top right photo p105), and is stamped Sterling Denmark NE FROM on the back, with no "925" designation. Is this an earlier (ie. 1960s? 70s?) mark of the company?

Thanks

subitted by Sheryl

submitted by  Linda from NC

submitted by Lilith

The mark COF is for Carl Ove Frydensberg of Copenhagen, who had this mark registered from 1949 to 1982.

information provided by Patrick Kapty

Thanks very much!

submitted by Marbeth Schon

James Fenton is the maker. I don't have any additional information on this maker, perhaps someone else in the group will be able to provide additional info

information provided by Beth

Hi Silver forum and Marbeth,the name of the designer is James Fenton he is well known but often his work is not so nice however your pendant looks really nice.

information provided by  Vanessa Paterson

submitted by Beth Scott

submitted by Jackie

The mark you describe is that of Laurence Foss, who apprenticed with Edward Everett Oakes in Boston, and also designed for Georg Jensen USA when that firm was producing designs by Americans during and shortly after WW II.

information provided by Christie Romero

Hi, Liz and Silver people - How about this, from the 1915 Trademarks book, under sterling silver:

La Secla, Fried & Co., Inc.
97 Chestnut St.
Newark, N.J.

The mark looks the same as your picture.

information provided by Karen Beuning

There is a rather good article on Fjerdingstad in issue 20, 1994 of The Journal of Decorative and Propaganda Arts, published by the Wolfson Foundation of Miami, Florida. It is one of the few things in English I have run across on Fjerdingstad, The title of the article is "Fjerdingstad: A
Franco-Danish Silversmith of the Twentieth Century", by David Allan. The article is not very lengthy, but does include approximately 15 illustrations. 

information provided by Joseph LONZI

submitted by Patrick Kapty

submitted by  Ellen Solway

(Example is an enamel pin .I know it's Scottish, from Edinburgh, and made in 1970, with maker's mark "NG" and Scottish hallmarks.The enamel is really a much warmer pinkish lavender surrounding the central brick red/orange enamel.)

submitted by Patrick Kapty

The mark is for Norman Grant (London)

information provided by a SilverForum member

the pendant is designed by a British designer called Norman Grant,who worked in Scotland in the 70s,his early works were big and bold like your pendant,and then became small and commercial.Norman Grant only designed for about 10 years,his work is no-longer in production.

information provided by Vanessa Paterson. Retro Gallery

Please see The Wonderful World of Norman Grant by Vanessa Frisbee, MODERN SILVER magazine.

information provided by Marbeth Schon

submitted by Ramona Tung

Could it possibly be " E. Granit" ? I have several pieces of work by E. Granit - a Finnish maker.

information provided by J.L.

"Ray Graves Arizona"          

(Example is a very large pendant made of brass, silver and steel which was  purposely rusted  for color. The silver and brass have hammering throughout. the pendant measures about The pendant measures about 8" tall from the top of the square wire that hooks into the neckform, and about 6" wide. )

submitted by Patrick Kapty

Can someone provide a bit more information on Raymond Graves, the modernist designer from Scottsdale, AZ - I recently acquired a bolo tie signed with his 'Gra-Wun' signature. It looks to be from the '60's (kitschy road-runner slide in pewter or silver alloy; vinyl braid). Any info at all is appreciated!

submitted by Barbara Starr

Ray Graves is one of the original artist/craftsmen on 5th avenue (Scottsdale). He is just a few doors down from H. Fred Skaggs.  He was very active in the Arizona Craftsman Society and was Featured in American Craft Magazine regarding crafts in AZ.  Has had some famous clients...including Sonny and Cher and won numerous awards.

Gra-Wun opened in the heart of Scottsdale Fifth Avenue Shops in 1959. The name Gra-Wun is a composite of two names, the first being Graves and the second taken from an early business partner Berta Wunderlich. The small
studio had a wonderful intimate quality selling not only jewelry created by Ray Graves but also the jewelry of his daughter Pattie, a recognized designer in her own right. Besides jewelry you could find a variety of unique decorative items. According to Graves the only item they sold that was carried in other stores was (Paolo) Soleri bells...a long time friend of Graves.

With the incorporation all types of material in his work over the years Graves considers himself a jeweler/craftsman. Stylistically, he was not limited. Pieces can be found in all shapes and sizes figural to abstract. By the late 1960s he had established a large following with markets from
Australia to Norway all drawn to abstract designs of Ray Graves.

Scottsdale's Fifth Avenues shops have seen several changes since the late 1970s, not all for the good. Gra-Wun along with a hand full of other shop have tried to survive the changes. Those original to the famed 5th Avenue Shops have tried to hold onto their ideals including the importance of the individual craftsman's expression. Sadly, the flood of cheap production imports and tee shirt shops and failing eye sight proved to be too over powering for Gra-Wun Studio, last year they closed their studio doors.

information provided by Shari Miller

information provided by Marbeth Schon

Hi Sande and the silver forum,well here it what your mark is for the H in a circle is for the company Halens Katalgvarehus A/S Oslo .

information provided by Vanessa Paterson.

Information can be found in Mexican Silver by Carole Berk and Penny Morrill, and "William Spratling and the Mexican Silver Renaissance."  His work was included in the traveling exhibit, "William Spratling and the Mexican Silver Renaissance."

(You can order Mexican Silver or Silver Masters of Mexico from MODERN SILVER magazine books)

information provided by Marbeth Schon

Celia Harms

Your spoon is Danish.  The 3 towers mark stands for STERLING silver ( 2 towers
mark means silver plate) and the 2 digit number just under the towers is the date (in this case 1914). The oval with CHF is the assayer's mark for Christian F. Heise, whose term was from 1904-1932.

Information provided by Annette 

submitted by Sandra

This large brooch appears to be black resin with silver inlays. Whether it's "real" silver, I have no idea. I'm curious about the mark on the sticky label at the back of the brooch: HH Danish Original. Any thoughts on who this might be?

Though I am a serious collector of Danish silver from the 20th century, I do not know this company. I have seen their jewelry many times. I only want to catagorically state - this "HH" has NO connection whatsoever to the Hans Hansen company of Kolding, Denmark.

Some past eBay auctions have occasionally made this erroneous attribution.

information provided by Annette Floystrup

submitted by Roger Erickson

Matti Hyvarninen

submitted by Nancy Hunt

The "MJH" mark (with Turku city mark and date mark for the 70s) is for 'SIRO KORU KY Hyvarinen', which owned the mark from 1958 to at least 1995. I'm assuming that 'Hyvarinen' (which BTW has the two dots over the A) is the last name of the owner/designer, but I'm not sure.

Matti Hyvarinen's company is Siro Koru, the pieces are sometimes also marked with the company name. This mark has been registered to his company since 1958.

information provided by Patrick Kapty

The maker is Matti Hyvärinen and you should have another name in also on the piece this designer worked in the 70s and his work is sometime mistaken for Bjorn Weckstromluck.

information provided by Vanessa Paterson retro gallery

submitted by Jackie Weeks

The mark OGH 925S may be that of the Swedish  smith, Olof Gunnar Hjertzell, with a shop in Stockholm during mid 1930s, and briefly using the mark again during the 1944-45 period.

information provided by Fred Rezazadeh

submitted by Adrienne

The piece in question with the TJH mark may be that of H Hedstroms Guldsmedsverkstad of Sweden in business in early 1940s. This firm was located in Orebro with the city mark of "O" in a circle and the few pieces that I have seen always have the Swedish triple crown mark which may be the mark that is not legible on your piece. However, the "F" in the square mark on your piece signifies that it was made, if Swedish, in the city of Falun. Although quite possible, I have personally never seen a Hedstrom piece with the Falun City mark.

information provided by Fred Rezazadeh

(Example is an item which bears only the double "H"s and not the script Hans Hansen signature) Would such a piece be earlier? later? Just so you are not confused, the item I am asking about also says 925S and DEMARK; there it is not question that it is authentic.

submitted by Rosalie Isaacs

According to the monograph (exhibition catalog) on Karl Gustav Hansen, the company's double H mark was in use from 1947 to circa 1969. It was used concurrently with the script signature mark (of which there were two different versions before and after 1950). From what I can tell from the Danish/German text, the double H mark was used when there wasn't enough room for the full script signature. This is what the caption says:"De forkortede maerker anvendes, hvor der ikke er plads til fuld 'Hans Hansen'-signatur (gaelder ogsa meget sma korpus- og bestikdele)."There are Danish letters I can't reproduce in the above, but if you read Danish, I'm sure you can figure it out.

information provided by Christie Romero

The double "H", or the mark that has been described as a "picket fence", is two "H"s sharing a single cross bar. This mark can generally be dated between 1947-1969. The exceptions are that this mark, along with the other "short" hallmarks ("HaH" - 1937-1947 and "HaH" 1947-1991) has also been used on small hollowware and flatware pieces where room for the hallmarks is a constraint to stamping the full script "Hans Hansen".

[Note that the difference between the two "HaH" stamps is one of typeface, and is subtle to discern, but evident when one has seen a few of them.]

There is one further dating for Hans Hansen possible from the script hallmark. Pre-1950, the return stroke from the final "N" in "Hansen" extends back under the whole last name. Post-1950, the return stroke only extends halfway back under the final 2-3 letters "-sen".

The small hallmarks, most usually the "HaH" are also turning up on corporately issued copies of original Hans Hansen pieces. (These are often misread as "H&H".) The Hans Hansen silversmithy was sold in the fall of 1991 to the Royal Scandinavian Corporation, owner of Georg Jensen, Royal Copenhagen, Bing & Grondahl, and other fine craft lines. The corporate copies of the Hansen designs are double stamped with both the post-1945 "Georg Jensen" in a circle of dots hallmark and the "HaH". I have seen about 10 copied designs so far.

There is a terrible misconception circulating (especially on eBay) that Hans Hansen was a designer for Georg Jensen. This has arisen, as far as I can tell, from the Drucker book, which rightly lists Karl Gustav Hansen's personal hallmark (KGH) on the list of people who designed for Georg Jensen....BUT...Hans Hansen (1884 - 1940) was apprenticed at Carl M. Cohr in Fredericica, and did not work for Georg Jensen. The "Hans H. Hansen" (HHH) and "Hans H. Hansen, Jr." (HH) listed in Drucker are not related to the Kolding silversmith family. [ I urge forum members to remember that Hans Hansen and Georg Jensen are as common in Denmark as John Smith is in the US...and most Hansen's and Jensen's are not related at all due to Old Norse patronymic naming conventions.]

Hans Hansen's son, Karl Gustav Hansen (1914- ), the primary designer for Hans Hansen hollowware, in no way had a significant working relationship with the Georg Jensen silversmithy. He did occasionally design for other companies in noted series produced by them, such as his '70's design for the Christmas spoon and fork series by Anton Michelsen. Additionally, his earliest hollowware designs do show the influence of Einar Olsen, who came from the Georg Jensen shop to work for Hans Hansen.

Grandson Hans Hansen, Jr. (1946 - 1972) finished out his apprenticeship at the Georg Jensen silversmithy to learn technique, but was not known as a designer for them. He is best remembered for a fine flatware set he designed for "Hans Hansen", shortly before his untimely death called, Amalie. Decades after his death, his father has made some of his early designs from drawings left by his young son, including a teapot he designed for his mother when he was only 8. These pieces can be seen in the Museum at Koldinghus (www.koldinghus.dk), and show his great promise and the tragedy of Hans Hansen, Jr. early death.

information provided by Annette Floystrup

submittted by Jackie Weeks

submitted by Lilith

submitted by Ellen Solway

submitted by .Christie Romero

What you describe as "2 interlocked sideways V's" is the mark of Aksel Holmsen and the jewelry is indeed  collectible. The boxes, however, are not original. They  belong to L O Wilbergs Eftr of Stockholm and they are circa 1939-46 The firm used the mark L O Wilbergs Eftr AB after 1946 and was in operation till 1970s. 

submitted by Fred Rezazadeh

"H J" (superimposed)

submitted by Lisa Youell

Can anyone point me in the right direction for some info on this big Danish ring I have. It has on it the name "J Hull" and also the marks "B+D", and "Denmark".

 submitted by Mimi 

Can't tell you a lot about Jacob Hull, other than that most of his pieces are plated base metal, though I have seen the occasional sterling piece. Most of them look to be from the 60s/70s, and are made by the same company as your piece, Buch and Deichmann (spelling?). I've seen a great deal of other pieces on eBay etc by this company, most of them seemed to be some variety of stylish modern costume jewelry. It's all very interesting stuff, and looks to be entirely hand-fabricated for the most part.

information provided by Patrick Kapty

I would very much appreciate help in getting information on these three items. The first is a large bracelet signed Jacob Hull or Kull and is said to be from Copenhagen in 1982. Weckstrom made a similar ring with a large amethyst.

Jacob Hull is a fairly well known Danish designer. I have had his pieces and they are usually quite interesting designs. There is a photo of one of his pieces in "Collectible Silver Jewelry" by Fred Rezazadeh, pg. 105. Fred says that "most of Jacob Hull's jewelry was made in heavy silver plate." If your
piece is not marked otherwise, that may be the case. I believe most of the pieces I've seen are from the 1960s.


information provided by Marbeth Schon

Taken from "Mexican Silver Trade and Hallmarks" by Bille Hougart

information provided by Marbeth Schon

Hurst Kingsbury ( Joan Hurst and Jill Kingsbury) were two exceptional woman designers who created modernist jewelry in New York City in the 1940s and 1950s.  Their work was usually constructed from cut, biomorphic shapes.  Joan Hurst was a graduate of the Art Students League and Jill Kingsbury was influenced by the art of theatre and dance.  Their pieces were always well designed and are of good quality.  They are also rare and hard to find.

Their work is featured in Modernist Jewelry, 1930-1960, The Wearable Art Movement and Form & Function, American Modernist Jewelry, 1940 - 1970 and was included in the exhibit "American Modernist Jewelry, 1940 - 1970" at the Fort Wayne Museum of Art, 2008.

Submitted by Marbeth Schon

Submitted by Andrienne

submitted by Vanessa Frisbee

There were several Swedish silversmiths that used the initials "OPI." If the piece has the Falkoping City mark and is circa 1960s or 70s it was most likely made by "Opifors AB," in operation during 1968-1987 period. The same initials with the same city mark was used by "Ekstrom Sweden AB" beginning in 1985.

information provided by Fred Rezazadeh

Bernard Instone, was a major manufacture of jewellery from the arts and     craft period he did work for many of Britain's major arts and Crafts movement. A lot of the early pieces are in fact without marks due to the costs of sending to the assay office.

 So to identify a piece you would look at several things  the quality of a     piece, (as in well made,) the shape of the leaves, and enamels used,  stones used, etc. It take years of handling and looking at this type of work to   know who made them.    However the leaves are most designers signature.

There is a good book printed by Schiffer on the arts and craft movement. Some one here may recall it title and cost. As to your piece if it is identical in everyway apart from the enamel being of a different colour, then I would say it is Bernard Instone. The Enamel ork is his production line which came out around the 1915/20s
His early work is amazing, and the family still live here in England  today with some in Australia.

information provided by Vanessa Paterson. Retro Gallery

I had a tiny cross similar to the style you describe and
with the AR IONA marks. the buyer turned out to be a descendent of the maker
and was kind enough to provide me the following info;
ALEXANDER RITCHIE WAS A SCOTTISH SILVERSMITH WHO WORKED CIRCA 1890-1940 ON THE ISLAND OF IONA OFF THE COAST OF SCOTLAND. HIS PIECES WHICH LED TO THE CELTIC REVIVAL STYLE OF JEWELRY SO POPULAR TODAY, ARE SILVER AND SOMETIMES ENAMELLED. THEY ARE OFTEN MARKED AR IONA ALTHOUGH THERE ARE OTHER MARKS ASSOCIATED WITH HIM ALSO. SINCE HIS TIME, THERE HAS BEEN MUCH JEWELRY MADE WITH AN IONA MARK BUT IT DOESN'T NECESSARILY MEAN IT'S BY HIM.

information provided by Susan Crosby

submitted by Ellen S

submitted by Sheryl

I hope someone out there can help with this maker. The piece I have is a  sterling hair barrette and it is signed Janiye'. I've heard this is a  Japanese designer and that the her pieces are hard to find. Any info will be  appreciated. 

submitted by Donna 

Janiye was a Japanese-born designer who had a shop on lower Newbury Street (165 Newbury St.) in Boston. Actually, the shop is still there, but Janiye died in 1981, according to this website:
http://www.aaa.si.edu/guides/crafts/metal.htm
(she's listed under her real name, MIYE MATSUKATA).
I do see Janiye pieces here and there, being in Massachusetts. I'm not sure if the pieces still being sold at the shop still bear the Janiye mark.

information provided by Marilyn in central MA

MY understanding of marks in general is that there are no absolutes - there are always exceptions! It is USUALLY true that the earliest Jensen marks are found on 826 and 830 silver. But there is an exception pictured in my second edition on page 250. This brooch is a documented 1905 design (documented by the GJ museum), but this particular example IS marked "925 sterling" with the early superimposed GJ mark that was used from 1904 to circa 1920.

According to several Jensen sources, including the Renwick Gallery catalog and the book by Janet Drucker, anomalies in Jensen marks do occur. As I wrote on page 243 of WJ2, "The grade of silver in pieces dating from the mid-teens through the twenties is 830 OR (emphasis added) 925; after 1933, the company went to the sterling standard of 925 exclusively."

The answer your second question, Jan, is no. Many, many early designs by Georg himself (and others) remained/remain in production, and are marked with the mark in use at the time the piece itself was made. But again, there may be exceptions to this "rule"!

information provided by Christie Romero

Really this question is a lot more complex than a simple yes or no. First of all, remember that jewelry manufacturers have never intended their company marks to be used for the purposes of circa-dating. A maker's mark is basically a trademark that is applied with a metal stamp to the item of jewelry sometime during it's manufacture. Sometimes there is more than one stamp in the workshop, circumstances occur, and old marks can get stamped on pieces from newer periods. There is no intent to mislead, the workers had a 
job to complete. However, the mistaken use of a quality mark could be much more serious. Here again, remember that quality marks were never intended to be used for circa dating purposes either, except in the few cases where a 
quality mark is used in conjunction with a date mark. The quality mark was used to attest to the minimum percentage of the metal used in the item marked, and was stamped on the item to fulfill the laws or regulations of either the country of origin, and/or the intended country in which the item was to be marketed. Thus items made for the home market, Denmark, would be in 826 or 830 silver, while items intended for the British or American markets would be sterling ie 925.
Seem confusing? It is confusing. There are no black and white answers to questions of this nature, only general guidelines with lots of exceptions.
Best regards,

information provided by Patrick Kapty

I was lucky enough today to find the Georg Jensen dove brooch pictured on page 106 of Fred's silver book, but I have a couple of questions about the mark.

The mark on the back of my brooch reads: George Jensen in a dotted oval, 925S, Denmark, 134.

According to the description in the book, this dove pin was designed by Mohl-Hansen for Jensen in 1904, but on page 99 it shows this mark as the one used after 1946. Huh?

Also, what does the 134 designate?

Thanks for any assistance.

submitted by Sheryl

It may be correct that the piece was designed back in 1906, however the fact that it has a Jensen bench mark for post 1945 means that the piece you own was made at a later date some of Jensen pieces have been in production for nearly 100 years. The company changed it Bench mark every now and again but since 1945 it has not so your piece was designed in 1906 and is still in production after 1945.

information provided by Vanessa Paterson 

A silver mug, with  lid, marked   H.J. DENMARK, and underneath a lovely relief of a  swimming fish, whale, with upturned tail.  pls see if you can help me with  this.

submitted by jr

submitted by Rich

Hello, the "JJ inside of a diamond with a vertical line separating the two" mystery mark in your list is the maker's mark of Judith Jack. Judith Jack started making "vintage" retro jewellery in the 1970s, inspired by pieces from the 1920s, 30s and 40s. Of course, her earlier pieces are now vintage themselves and of great quality. For more information on Judith Jack, please see www.judithjack.com  which provides the history of this jeweller and shows examples of her work.

information provided by Diana

information provided by Patrick Kapty

submitted by Jane Heidelberg

There is a photo of the mark of a necklace with the number 10 on page 295 of  Janet Drucker's book, "Georg Jensen, A Tradition of Splendid Silver". It has the "GJ" mark in a square, "830" in a dotted circle and the number "10".  This one would have been made later than yours as the GJ in a square is a later mark. On page 67 of the same book is a photograph of the mark on the back of necklace #9. This mark seems to match the description of the mark on your necklace except you may have read the 830 mark as 838. I believe the correct mark would be "GI" in a dotted circle, "830" in a dotted circle, and the number 10. I don't know what necklace #10 looks like, but your description certainly fits similar early necklace designs.

information provided by Marbeth Schon

Your Danish piece is by the firm of Henning Jensen of Roskilde, if the mark 
is HGJ. (I don't see a registered mark for the other possibility you mentioned in your post.) They were in operation from 1929 to 1969.

information provided by Patrick Kapty

submitted by Nancy

The NJ initials on the Jensen jewelry could possibly be that of Jorgen Ditzel (1921-1961). The couple Nanna and Jorgen Ditzel designed jewelry for both Jensen and A. Michelsen. Most of the jewelry is circa 1950s.

information provided by Fred Rezazadeh

Submitted by Marbeth Schon

The mark "VJ" is the registered mark of "Victor Jansson Guldvaru AB" in Lindesberg, used since 1941 and was still in business as of early 1990s.

information provided by Fred Rezazadeh

submitted by Roger

information provided by Marbeth Schon

Jay Kel"

submitted by Linda King

I have two different Vogue ads for Jay Kel Originals, 307 5th  Ave, NY,NY--one in Oct. 1944 and Aug--Sept 1946--both ads are showing brooches [sterling] that sold for 40.00 at that time.

information provided by Pat Seal

submitted by Jackie Weeks

"The strikingly unique art of Pal Kepenyes has been collected by such celebrities as Bob Hope, Robin Leach and Robert Stack."  He was born in Kondoros, Hungary, and began exhibiting in Budapest in 1946. His work had been shown in Paris, London, Berlin, Canada, the United States and Mexico, where he now lives. His work in museum and private collections throughout the world.

"In his miniatures or in his monumental work, he expresses the drama of the man of today: anguish, loneliness in company, desire and/or erotic experiences, trauma, myths, conscience, self-consciousness, wonder and the marvelous...ad infinitum, and all in continuous dimensions."

He works in bronze, copper, iron, gold, silver-and precious stones....."In his work, he presents past and future as mere moments in eternity." (information from http://www.bryantgalleries.com/index_files/page0077.html

information provided by Marbeth Schon

Kerr's hallmark was a fasces - a single-bit axe with rods bound with straps. They used this trademark of a medieval axe from 1855 until 1892. Other hallmarks include a hammer, and three "X" marks.

Kerr was known for elaborate and unique Art Nouveau pieces, most especially the American Beauty series, as well as many different patterns of flatware and holloware for children featuring nursery rhymes and images.

From: http://en.wikipedia.org/wiki/Kerr_%26_Co

information provided by Marbeth Schon

submitted by  Roger

submitted by Adrienne Garden Party Collection

"Bent K" is for Bent Knudsen. He is mentioned in Warman's Jewelry 2nd Ed. by Christie Romero and European Designer Jewelry by Ginger Moro.

information provided by Patrick Kapty

submitted by Lorie Mattson

submitted by Marbeth Schon

Just a guess, but could they be Navajo? 

information provided by Paul

You will surely get more knowledgeable responses than mine, but in looking at your cuff links, the inlay looked SW Native American to me and then when I looked at your wings in the mark, they look like feathers.  I would look
in lists of Native American marks for your maker.

information provided by Mary Hu

A big thank you to Mary, Paul, and Julie for putting me on the right track regarding my cufflinks. They are Navajo and I found the mark in "Hallmarks of the Southwest" by Barton Wright.  The mark is for Tracey Knifewing (I guess this
was a collaborative silversmith business between two men)--more research later. The mark is a conjoined "TK" with two wings (an early mark). They also used
one with one wing later on.

information provided by Marbeth Schon

HL is Hilario Lopez who was one of Margot's top silversmiths. He also acquired many of her molds, when she went out of business. So, the well known Margot designs that are signed "HL" are also from her original design molds, made by the same silversmith that made her original signed pieces."

information provided by Sheila Pamfiloff  (and Sigi Pineda)

Your bracelet is made by Hilario Lopez, a silversmith who worked for Margot and, I am told, was her main smith for quite a time.  He reportedly bought or was given many of Margot's molds, etc. when she closed her shop, and continued making the exact pieces, only with his HL stamp instead of the Margot stamp.

information provided by Cris Telgard

submitted by Rosalie Isaacs

I have seen some very nice Danish pieces marked "John L.", but don't know much about the designer. I believe that he was John Lauritzen from Copenhagen and that he worked in the 1950s-60s

information provided by Marbeth Schon

submitted by Lisa Youell

Was looking through your mystery marks and on page 1, down near the bottom, is a photo of a spider. The OP states it is marked J57 lain. Their 'enhanced' photo is not enhanced correctly. I can not make out the anchor under their outline of the item.

The company is Jezlaine. Probably with a copyright symbol. Perhaps even marked .925 If you do a search for Jezlaine spider, you can find those to match.

~Cheers~
information provided by Carmen

Graziella Laffi

Hello - I have a sterling tie clip date marked 1952, but I don't recognize the makers' name.  Any help would be appreciated.  I have a clear  jpeg picture if anyone wants to see it.

Hallmarked: Maker's name is L.A O.Y;  The dot between the L and A is high up, like an apostrohe.  I believe the OY means company?

Finnish Silver Mark of a Crown in a heart; 
Silver content 813H; 
City of Assay is Rii (Rovaniemi ??); and the 
Date Y6 (1952).


submitted by Lis Bianco (shoppington200

This was a manufacturing silversmithing company of Melbourne that was in business from post WW11 until post 1980. Their marcasite jewellery made dates from round 1950. The birds described appears to be similar to those illustrated in "Australian Jewellers, Gold & Silversmiths Makers and Marks." by K. Cavill, G Cocks & J Grace, ISBN 0 646 11042 X. 

submitted by Fred Sinfield.

submitted by Carie

I believe that this is the mark of the fine Greek jewler, Lalounis. They specialize in hand wrought gold jewlery and other small items. Their work is of the highest quality and can be purchased at their shops in various world capitals. They currently have a shop on Madison Avenue in New York City.

information provided by Leslie Lassiter, New York City

information provided by Marbeth Schon

submitted by Lisa Youell

It is made by a Robert Larin of montreal canada. his work is not generally in silver, but in another base metal. I am currently compiling information on him with the help of a montreal dealer from whom I have purchased a few good examples. normally, the R. is fully written as Robert, and along with Larin is in a cursive script. when Ihave compiled more substantial info, I will repost with the updated scholarship. he seems to have worked late 50s into the 70s

information provided by Anthony Matthews, director, Period (.) Gallery, Toronto

I had a similar pendant by LaVista which I sold some time ago. I purchased it in New York and the seller said it was by  Adele (sp.?) La Vista  ( a 1950s New York silversmith), but I never found any other information except that there is a fabuous set in Schiffer's Silver Jewelry Designs" (pg. 275).

Later information is that Idella LaVista was a mid 20th-century silversmith who had a shop in New York.  I am in contact with the family and should have more information very soon.

information provided by Marbeth Schon

Anyone got any ideas about this brooch?  I have tried to show the marking on the back but they are very hard read. One of them is 14K and the other could be LLEBCLT or LLEGCLT. The pendant is about 1 3/4" wide and is very heavy. The stones are solid clear opals with bright colors and the pearls are real. There is a little lever device on the part that holds the pin and the loop at the top is hinged. I have tried for a long time to find out what the marking means - who made it, where it came from and how old it is and the value.

submitted by Richard Whitehouse

Richard, this is a shot in the dark, but could the mark possibly be "Lebolt", perhaps double struck? I have no idea if they made pieces similar to this since I have only seen their arts & crafts tableware.

information provided by Willie Elliot

hi richard, the brooch looks like a transitiional art nouveau/arts&crafts piece from circa 1920. the signature may be LEBOLT for J. Meyer Lebolt of Chicago, Illinois. this firm is known mostly for their silver work in the early part of the 20th century but they did quite a lot of gold, platinum and pearl work until world war 2. The opals are questionable even though they show great color. simulants were available even then and since the stones are imbedded rather than open to the light, i would be skeptical of them.

information provided by Susan Crosby

submitted by Marbeth Schon

According to Shari Miller, who contacted the man himself a couple of years ago, the script signature is/was used on production pieces since the 1980s. However, the earlier pieces with the block letter signature were often multiple production designs as well. So the signature only helps with the circa date.

information provided by Christie Romero

Relative to the question a little while ago about Ed Levin bronze, this Vermont and New York artist did work in bronze, in addition to bronze/silver combination pieces.

information provided by Paul Lemieux

I collect jewelry by Esther Lewittes and have a pair of Lewittes earrings with a different spelling than in her book. I can't remember off hand the spelling but the funny thing is, the earrings are featured in the book, which I also have.
Go figure.

submitted by Ellen S.

I also have a pair of cufflinks in sterling with wood that are
marked on the bar. They are both signed in cursive on the bar. one, the s is worn but still visible so the name is LEWITTES. but the other one shows no sign of the s so the name is LEWITTE. the bars on mine have raised centers which is where the signature is located and because the s is at the tapering end of this rise, it was probably not as imprinted into the silver and could wear off over time and handling.
hope this helps a bit!

information provided by Susan Crosby

submitted by Jackie Weeks

Your bracelet is very handsome! No wonder you are so excited! I don't know who LICO is/was, but the Eagle 1 on it indicates it was sold (and probably made) in Mexico City sometime between early 1949 and 1979. I hope that will narrow your search a little. It is too bad so little is known about the many wonderful Mexican designers and silversmiths.

information provided by Phyllis Goddard

This is a pin made for the 76th Royal Leicester Regiment (Leicester is the Midlands, UK). Their insignia is the Tiger Passant, awarded to them in 1825, after their long campaign from 1804 to 1823 in Hindoostan in India.  Thus , the regiment have since been known as "The Tigers", and
regimental badges, commerative pieces and insignia carry the Tiger Passant and the words "Hindoostan" and Leicester. This piece was probably made for the wife of an officer, or as a gift from the Regiment  - The regiment is still in existence today

information provided by Vanessa Frisbee

submitted by Nancy Hunt.

submitted by Lonny  Rosen

I have not heard of this maker, but Lysgaard is a very Danish name, and the item could be from either Denmark or Norway (until this century under Danish> rule and therefore many Danish surnames up there too) as both countries have a tradition of working in "tin" - their word for pewter.

information provided by Annette R. Floystrup