M y s t e r y   M a r k s   2

Click here for a  numerical list of Mexican "Eagle" Marks

submitted by Mary

This mark is most likely for Manchester Mfg. Co., Providence Rhode Island. In Rainwater's, "Encyclopedia of American Silver Manufacturers, it states that the company manufactured sterling silver fancy flatware, hollowware, and novelties beginning in 1887.  After 1915 (or so) the company became the Manchester Silver Company.

information provided by Marbeth Schon
www.mschon.com

submitted by  Cheryl 

Hi! I found SPM listed in a trademark book from 1950 and in Rainwater's book. It stands for J. Schnelwar & Sons, Inc. in business since 1905. In the trademark book, the entry was under "Rings and Mountings" -so that is most likely the company that made your ring. The Rainwater book says that today they only deal in loose diaminds. You may need to date it by the style.

information provided by Karen B. 

Peter Macchiarini (early signature)

information provided by Marbeth Schon

submitted by Roger Erickson

For information on Macefield, see  http://www.modernsilver.com/macefield/macefield.htm

From askart.com

information provided by Marbeth Schon
www.mschon.com

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

You can order Mexican Silver, $59.95 (item #SMB001) or Silver Masters of Mexico, $49.95 (item #SMB002) from MODERN SILVER magazine books  Please add $3.95 for shipping for each book.

information provided by Marbeth Schon
www.mschon.com

The Y8 is for 1949 and the ICO is probably for Galerie 22, Stockholm, but I don't know what MARITSCHNIG means.

information provided by Marbeth Schon
www.mschon.com

submitted by Paul

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

Matilde Poulat

Salas

submitted by Marbeth Schon

I have been buying from Mr. Salas for many years.  On my older pieces he put the patent number.  On his more recent pieces he either uses a rectangular piece of silver soldered on the back with Matl in script and M REGIS (marca registrada - registered mark) followed by a number,
MEXICO 925, MS-12  or he simply "scratches" on the back "Matl, Mex 925"   He doesn't always scratch on the "MS-12" or "Salas".   My "scratched" pieces match the photos here.  I know he wrote them because we were
visiting with him at his home when he was marking pieces.   So just because it doesn't have MS-12 or Salas does not mean it is a Matilde Poulat piece.  It could mean he just didn't put it on! I last saw him over a year ago, he is a most wonderful man (in his 80's) with a great family.  He has a small booth at the Bazar Sabado in San Angel in Mexico City that is open for a few hours on Saturday only.

I enjoy reading and learning from the SilverForum; keep sending those
emails!

The following is a detailed summary from Sheila Pamfiloff of www.glitterbox.com regarding Matl hallmarks:

1940s...Stamped Matl in fat script (curled beginning on M) or block, sometimes with a 950 or 925, no government assay mark. Stamped on the metal or applied oval

early 1950s...Stamped thin script Matl with stamped sterling and 950 or 925 and Mexico.sometimes with the eagle 1, by mid 1950s, should have an eagle 129.

late 1950s-early 60s...Transition marks, thin dremel script mark with reg. numbers, Mexico, (usually a space between Mex & ico), 925, all etched in. (sometimes with/eagle 129).

1960s...Salas, thicker stippled dremel, sometimes with Salas and sometimes without; and reg and other marks stamped in.

1970s and on...Salas with MS-12, Reg# Stamps used, and later, no more eagle stamps.

Remember that marks can overlap time frames for various reasons. And, it is quite possible that all marks don't get placed on a piece for reasons of space availability or that they forgot to place one of the marks on a piece (rarely, but quite possible).  

Most of my known Sals works have been marked Salas, (either stamped or dremel etched) but occasionally I find the Salas ommitted.

I generally look at the whole piece along with the marks to determine questionable dating on pieces.

Patricia Madeja

information provided by Marbeth Schon
www.mschon.com

information provided by Marbeth Schon
www.mschon.com

submitted by Ellen
www.deja-voodoo.com

Menuki are part of the "furniture" used on Japanese swords.

Two menuki are used per sword and are used underneath the wrappings of the handle.  After the
manufacture of swords was banned the craftsmen who originally made the sword furniture had to redirect their skills to the making of other items. (Often for the Western trade).

I have seen several menuki converted to brooches and tie bars. Other parts of the sword furniture have been mounted onto rings or onto containers as  decoration.


Information provided by Fred Zweig

http://fredz49.blogspot.com/

 

"M" on top of "J"

(Mexican mark)

submitted by Frances Rosenau

Today, I bought earrings marked RM, Hecho en Mexico 900.  They are screw backs and appear to be from the 40's, 50's time period.  Mine is just a black RM, but they place where they are marked, that is all there is room for.  Possibly the same maker?  Wonder why they are 900?  I don't often see 900.  Either 980, 925,
submitted by Beegee

I can't make out the mark on your Mexican piece by your photos, but there is a mark for Rafael Melendez which is a large cursive "M" with an "R" coming from the inside left of the "M".  Melendez worked for Hector Aguilar in the late 1930s and had his own workshop in the 1940s and 50s. There is information on Melendez and a photograph of this mark in "Silver Masters of Mexico" by Penny Morrill, pg. 85.
It's difficult to tell by the photo whether or not the piece is carved stone, but most of the carvings like yours that I have seen are of green stone.

information provided by Marbeth Schon
www.mschon.com

submitted by Adrienne Garden Party Collection

The BM Co pin was made by Breadner Company, Ltd. of Hull, Quebec, Canada. The company was Breadner Mfg.Co, from 1903 until 1930, when it became the Breadner Co. Ltd. BM Co made sterling souvenir flatware and sterling souvenir jewelry. I sometimes see a maple leaf brooch in green, yellow, red and orange basse-taille enamel. For more information, see Rainwater's "American Silver Manufacturers," 4th edition.I hope this helps you,

information provided by Paul

submitted by Vanessa, Retrogallery

I found a reference for Magnussen working for a German firm-- Thomas Dingeldein and Son. It says "they had a showroom in New York, and then worked in Chicago and, from 1932 to 1938, in Los Angeles". I'm not sure if that reference means that he worked for Dingeldein in Los Angeles, but, at least, that would explain the California mark on your piece and, perhaps, date it. My book does not show the mark for Thomas Dingeldein.

information provided by Marbeth Schon
www.mschon.com

submitted by Linda in Philadelphia

submitted by Jackie Weeks

submitted by  Lonny Rosen

submitted by Paul.

submitted by Marbeth Schon

Anton Michelsen (1809-77) opened his shop in 1941 in Denmark. His firm obtained early recognition for the quality of its output and, for several generations, the firm was the leading producer of gold and silver objects in Denmark with significant influence on Danish jewelry design. Many excellent and famous designers worked for the company throughout the years. A Michelsen jewelry is known for superb design and quality.

information provided by Marbeth Schon
www.mschon.com 

Mings, Sterling

information provided by Marbeth Schon
www.mschon.com

Jesse Monongye was raised in New Mexico in the famous Navajo rug center of Two Gray Hills. His earliest artistic influences came as he watched weavers. Their pursuit of balance and technical perfection. The beautiful songs the women sang as they wove. The soothing sound of the loom. All this stayed  with Jesse as he started at the jeweler's bench years later.

Although busy producing his own work, Jesse shares his expertise. He assisted in the placing of historic and contemporary Native American jewelry in the permanent display at the Heard Museum.  He also was the Artist in Residence at the Heard Museum during 1986-87, both teaching  and demonstrating the centuries old art of Navajo jewelry making.

Jesse’s jewelry has been featured in a number of group and private exhibitions  and is represented in both corporate and private collections. (quoted from http://www.sedonawolf.com/monongye/jesse.html )

information provided by Marbeth Schon
www.mschon.com

information provided by Marbeth Schon
www.mschon.com

I don't recoginize that name but know about Moss Agate. It is a member of the quartz family usually translucent with a moss pattern.  Does your silver pendent have a stone?

Eleanor Lee

Front view of ring with the two pearls. The white pearl has a big blister on one side. It looks "natural" as in having been that way, not a damage. I have never seen this on cultured pearls before, is it normal?

submitted by Liz Bryman

S.H.M. Co.
wallingford
 conn
 treble plate
patented march 8 1870.
Then on the inside bottom of it it is stamped 1800

submitted by   Michael

submitted by Marbeth Schon

"C. KUNZE"

I'm including the marks and one picture of the pin which I had submitted to Silver Forum earlier. Another member wrote to say she also had a piece with the marks--sort of tool-like or more fancifully Bees, as was also very curious to learn about it.

submitted by Adellar Greenhill

 

"830S ARN"

submitted by Paul.

"A.R.N." or "A.R.Nielsen" are the marks for Anton Johan Rasmus Nielsen of Haslev, Denmark, in operation from 1905 to 1937.

information provided by Patrick Kapty
http://stores.ebay.com/California-Dreamin-Retro-Modern-ETC

information provided by Marbeth Schon
www.mschon.com

submitted by Gail Selig

Lollita Natachu

information provided by Marbeth Schon
www.mschon.com

Doug Nava

Doug went to college in Gunnison in Western Colorado.  He earned a degree in art and was also self taught as he went along.  His wife, Elizabeth, also has an art degree.  One year after graduation, Doug bought Bennett’s Indian and Lapidary.  He made jewelry and sold it in his shop.  His jewelry has evolved over the years from Navajo style to fine inlay work.  Doug is very talented in other art mediums as well including painting and sculpting.

from: http://hoelsindianshop.com/product/doug-nava-inlaid-bracelet/

information provided by Marbeth Schon
www.mschon.com

Many Navarette designs resemble Spratling's designs.  They have either a 980 or 940 silver mark along with the conjoined AN.  Naverette's mark closely resembles that of Alfredo Villasana, but Navarette's is raised and Villasana's is incised.  (from "Mexican Silver Trade and Hallmarks" by Bille Hougart.)

information provided by Marbeth Schon
www.mschon.com

Gibson's jewelry is famous worldwide, and is in the private collections of his Congressman Ben Nighthorse Campbell (R-Co) and celebrities such as Elizabeth Taylor, Willie Nelson, Robert Redford, Goldie Hawn, Joan Lunden and many others. Gibson's jewelry began gaining notoriety in the early 80s, and was often referred to as Star Wars jewelry, due to the modern touch he brought to traditional silver and turquoise Indian jewelry. He later began to branch out in his use of materials by using gold, blue lapis, diamonds, coral and of course, turquoise. His intricate designs and exacting detail were unmatched, as well as his use of large stones, and his composition. Gibson was known for his fine-line chisel work and his skillful inlay of gemstones. He used no castings in his work and chose, cut and polished his own gem stones.....Gibson won the prestigious Smithsonian Medal of Honor and more than 700 blue ribbons.....

Gibson, an enrolled member of the Jicarilla Apache Nation grew up on the Jicarilla Apache Reservation at Hillcrest. He began traveling the rodeo circuit as a young man, competing in bull riding, with his uncle, Jackson Velarde, from whom he also learned the basics of his trade. Over time, his skill and unique style developed and began to attract the attention of major art galleries and publications. He was featured in an article in Arizona Highways early in his career, and his work began winning Best of Show at many art shows including the famous Indian Market in Santa Fe, New Mexico as well as Gallup Ceremonial, the Heard Museum, the All Mankind Jewelry Competition in Washington, D.C, and Casa Grande in Arizona. He moved to Santa Fe where he could be closer to the exclusive galleries and customers who regularly sought out his creations. His work has been featured at exclusive galleries such as Wright?s Gallery in Albuquerque, NM, the Scottsdale Trading Post in Scottsdale, AZ, the Tanner Chaney in Albuquerque, NM, the Blue Rain Gallery in Taos and Santa Fe, NM. He was a member of many organizations such as the Indian Arts and Crafts Association and the Institute of American Indian Arts.

Quoted directly from https://www.tannerchaney.com/newsletters/view/16

submitted by Joan Gruzen

I didn't realize that "Rainwater's Encyclopedia of American Silver Manufacturers" had some information on New Orleans Silversmiths.  Rainwater says that the company was "founded in 1938 by Karl Dingeldein, native of Hanau,Germany".  I found an old newspaper article at the Williams Research Center in New Orleans that stated that the company was founded by Joseph Antoine Harck, a Belgian emigre "who came to America to exhibit his work on behalf of the Belgian government at the Sesquicentennial Exposition, in Philadelphia, in 1926.....Mr. Dingeldein was his successor.  
 
Karl Dingeldein came from a long line of silversmiths. The first being Johann Siegmund Kurz of Hanau, Germany (in business until W.W.II)  His son, Karl Kurz left the family enterprise and formed his own company.  I believe that Karl Kurz was the maternal grandfather of Karl Dingeldein.  His father August Dingeldein received the silver patterns used by the Kurrz shop in 1911 after his marriage to Karl Kurz's daughter.
  
The firm of August Dingeldein and Sons was established in New York City in 1924.  During the depression there were some activities in Chicago that were transferred to New Orleans in 1936.

Karl Dingeldien had a brother, Otto Dingeldein who had his shop in St. Louis, Missouri and later in Cape Girardeau, Missouri.   The Historic New Orleans Collection has an out of print copy of a book titled "The Notebook of Silversmith Otto Dingeldein"  (published in the 1980s) with photographs of some wonderful modernist work done by Otto.

Karl died in the 1960s and the business was purchased by another German, Hans Leutkemeir.  I do not know if he is the present owner, as I have not been able to talk with him but plan to very soon.

The marks of the New Orleans Silversmiths is an ornate German crest with their name in the center (I'm not exactly certain how the center reads).  The mark of Otto Dingeldein is a shield shape with "O.F.D" and three sergeant-type stripes.    There is also another mark for silverplate which is a shield shape divided into three parts with a ring on the left, a chalice on the right and three small cup shapes in the top part.

information provided by Marbeth Schon
www.mschon.com

Artist-silversmith Otto Dingeldein specialized in silver and church pieces. While it's been noted his work is shown in a Historic New Orleans Collection gallery, other Dingeldein objects are also on display in the History Museum in St. Louis, where he lived from 1936 to 1959 (before relocating to Cape Girardeau, Mo.). He emigrated from Germany to America in 1927. He was recognized with numerous awards, including one named for him. From a long line of silversmiths dating back to the 1800s in Germany, Dingeldein lived to age 84. He died in 1991.

information courtesy of Kathy Flood

"EN"

submitted by Evelyn Yallen

Evald Nielsen was apprenticed to the Copenhagen goldsmith A.Fleron in 1893 to make flatware,but instead of working on flatware became a chaser and engraver. He was awarded a travel grant and in 1903 left his wife and family for the life of a journey man traveling first to Germany and then to Paris.During his travels jewellery design was taking on a new development.Although his later work was typical of the Danish Skonvirke style his early work was inspired by contemporary German jewellery.

Evald returned home in 1905 to start his own business, he was very successful and in 1907 he was able to buy a whole workshop. .Evald jewellery was selling so well all over Norway, Denmark, and Sweden that it was put on a par with Jensen and his collaboration with S.L.Jacobson gave him the exclusive rights to sell his work in Denmark.Norway, and Sweden.

Many silversmiths tried to copy Evalds style with stones almost bursting out of a silver bud,but no one could master his style. He was chosen master of the goldsmiths guild in 1918 which he held until 1948.

Evald Nielsen died in 1958.He always worked for himself and never worked for the company Georg Jensen.

information provided by Vanessa Paterson

Wiwen Nilsson

information provided by Marbeth Schon
www.mschon.com

submitted by Patrick Kapty

This company is a major dept. store in Stockholm, a very old and prominent fine such store. I don't know about the rest of the name, Etsuko, sorry. Apparently this piece was made to order to be sold in the Nordiska Kompaniet's stores. This store is usually referred to as "NK" [pronounced ENN-KAU, with a hard au sound, as in the word "more" in English] by the Swedes, and uses the initials "N.K." in its advertising. Why the mark is NOKO instead of N.K. I don't know, however, it is possible that the acronym NK couldn't be used.

information provided by Liz Bryman

Regarding previous comments on the mark "NOKO" found frequently on modern Swedish silver jewelry, it was the registered mark used by "Nordisk Kokusai AB" in Sundbyberg circa 1973-1979 and is usually seen with the designer's name or initials. I have not been able to establish a relationship between "Nordisk Kokusai" and "Nordiska Konpaniet," the large and prominent Swedish department store where the first two letters of each word also forms the abbreviated "NOKO." This company had jewelry shows featuring works by major Swedish designers and silversmiths such as Sigurd Persson and Olle Ohlsson and it is possible that the "NOKO" logo was used by them or that the two companies are related.

information provided by Fred Rezazadeh

There was an iquiry regarding a piece I understand to have been bought or acquired from or by way of Nordiska Kompaniet with a marking saying Etsuko. Based on the description, I'm almost certain the piece was made by a Japanese woman named Etsuko who lived in Sweden a very long time. I don't know if she still does. She had a shop on the main strip in Gamla Stan, or Old Town of Stockholm. What is a little odd is the stamp he said was the equivalent of 1976. The leaf design is something I knew Etsuko to make after 1982 sometime at which time my at that time fiance and I commissioned her to design a wedding ring for us of red, white and yellow gold leaves. She loved the cast she'd done for the leaves so much she expanded her line into pendants holding semi precious stones, earings, and broaches. I sold pieces on her behalf in California and New York. I have often gone on-line to find where Etsuko might be keeping shop and this site is the one site that has offered something about the Etsuko whose pieces I will always hold dear to me for obvious reasons. Thank you for existing!

information provided by iscotti

I have just acquired three identically coloured, shaped and marked enamelled sterling butterflies in a range of sizes. The medium-sized one has the Hroar Prydz ' pacman' symbol (sideways 'v' in a circle), while the other 2 have anchor symbols. Comparison to the engine-turned markings confirms that the butterflies are Hroar Prydz. This would strongly suggest that the Norwegian anchor sign is related to this silversmith.

information provided by Jac Cattaneo

I believe your cake server (which sounds lovely) was made by Bror Onnela (my guess is that this is the name of a silversmith as well as a company--but I might be wrong) of Haparanda in 1946.  Onnela was there from 1938-1946, and then is listed in Vittangi from 1947-1949, and then Lulea from 1950-1980.  The three crowns indicate the item was made in Sweden (if they are within a trefoil)
or imported (if within a circle). Most likely your piece was made in Sweden because the maker was a Swedish silversmith.  The "S" indicates the item is silver (.830 or higher) and "U8" is a date mark for 1946.  See Christie Romero's article for MODERN SILVER magazine "Basic Hallmark Identification."
http://www.modernsilver.com/basichallmarks.htm

information provided by Marbeth Schon
www.mschon.com

submitted by Mary Andrews

information provided by Marbeth Schon
www.mschon.com

submitted by Heather

The mark is probably for O. Rlls Olsen, in business from 1971-1973. (Denmark)

information provided by Marbeth Schon
www.mschon.com

According to a friend of Mystery Marks from Germany, "Ich  Dien" means "To Serve" and not "With God."

information provided by Mona

Ich Dien is the motto of the Prince of Wales. The Thistle is the national symbol of Scotland. The rose is the national symbol of England. The lions are also symbols of the British royal family. 

I have no idea what organization it might be, but it could represent the creation of Great Britain--England, Wales, and Scotland into a single Entity.

information provided by Jane, Viney Ridge

submitted by Roger

925 1 AR UNO A ERRE"

submitted by Ellen Solway

I have had trouble finding out anything about this designer except that they where based in Italy..

information provided by Vanessa Paterson Retro Gallery.

submitted by Ellen from Santa Cruz

Good day silver forum Hi Ellen as to your cigarette case it was made in France the orno on top of each other. I do have the information some where in my papers so I will go thought and try to find it for you.I have seen this mark on a lot of silver  Jewellery.

information provided by  Vanessa Paterson Retro Gallery

I don't know about the rest of the marks, but without seeing the "profile of a woman's head" you describe, it sounds like it could be a British duty mark stamp.

In 1952-1953 British sterling pieces made for export were voluntarily stamped with the coronation mark of Queen Elizabeth. This duty mark is a woman's head in profile looking to the right and in a small oval. I believe that the UK also used a woman's head in an oval for a stamped duty mark on sterling in the late 1800's of Queen Victoria (looking left). There are other British duty marks for other years, I think there was a woman in an oval stamp in 1934-35 for Queen Mary.

Your "woman in an oval" could be a British duty mark, which could at least narrow your search down to a specific country for the manufacturer/silversmith. Just a thought and hope it helps.

information provided by Cheron

Submitted by Isabelle Bryman

The marks appear to be in the format that was used by or in the city Strasbourg (France?) from the 1650's to the 1750's, according to published reference books. The '13' designates the purity of the silver, and was used widely over many of the (mostly German speaking) countries for a long time.

A tricky thing is that 18th century European marks were widely faked and copied around the late 1800's. The belt is an interesting looking and intriguing object, and deserves closer hands-on examination by someone who would understand it better in the context of its construction and design.

information provided by Angela Saunders

Your question about the Swedish maker is difficult to answer without seeing a photo of the mark.  There were at least two designers working during the period your piece was made using "P" as part of their mark.  There is the mark for K.E. Palmberg who designed for Alton and used both "KP" and "K.E. Palmberg" (in script) and Sigurd Persson used "SIGP". 

information provided by Marbeth Schon
www.mschon.com

submitted by Marbeth Schon

That's a positive yes. Antonio Pineda used the AP hallmark from approximately 1941 to 1949 when he opened his first workshop in Mexico City. I have a silver and amethyst necklace and matching earrings set marked AP which is circa 1940-1945 that is my most treasured silver jewelry. This set looks remarkably like an early Fred Davis necklace,
which I guess is no surprise since Antonio Pineda apprenticed in Valentin Vidaurreta's Mexico City workshop which produced much of the Fred Davis jewelry.

information provided by Cheron

Yes, a simple AP, inside a circle, usually also marked Silver Mexico; also sometimes seen along with his other older mark, Silver by Tono. 

information provided by Bille Hougart
http://www.cicatrix.com/

Antonio Pineda  (1919-2009) was born in Taxco, where his family had lived for generations. His artistry will go down in history as one of the very best from Mexico's metalsmiths.  His warm and unforgettable personality and his brilliance live on through the beautiful pieces he created.  

Though his earliest work includes natural subjects and traditional early Mexican designs, his later work, beginning in the 1950s is done in a highly modernist tradition with great ingenuity and quality. His work is some of the most desirable of all that was done in Taxco during his lifetime.

Information can be found in Mexican Silver by Carole Berk and Penny Morrill, Silver Masters of Mexico, by 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, $59.95 (item #SMB001) or Silver Masters of Mexico, $49.95 (item #SMB002) from MODERN SILVER magazine books  Please add $3.95 for shipping for each book.

See also:
http://www.modernsilver.com/antoniointerview.html
http://www.modernsilver.com/Antoniointaxco.htm 

(mark for Patania)

submitted by Kristin

One of our SilverForum members, Shari Miller wrote a fabulous two-part article on Patania jewelry. The first part is in the current issue of MODERN SILVER magazine--next issue will carry the second part.  ( Click on "archives" on the MODERN SILVER magazine tool bar at the top of this page to find the articles)

Prip Pearson Mark

Ronald Hayes Pearson (d. 1977) is known for his clean modernist designs in silver, bronze and gold.  He studied metalsmithing at the School for American Craftsmen under Philip Morton in the late 1940s.  In the 1950s, along with silversmith Jack Prip and woodworker Tage Frid, Pearson opened Shop One.  Though Pearson never "joined academia" he taught classes at schools such as Haystack and Black Mountain College.  Pearson supported himself, his entire life, as a full time craftsman.  His work was included in many prestigious exhibits and won many grants, prizes and awards throughout his lifetime.

Information about Ronald Pearson and photographs of his work can be found in both of my books: Modernist Jewelry, 1940 - 1970  and Wearable Art Movement and Form & Function, American Modernist Jewelry, 1940 - 1970 and his work was included in the exhibit "American Modernist Jewelry, 1940 - 1970" at the Fort Wayne Museum of Art, 2008.

information provided by Marbeth Schon
www.mschon.com

submitted by Holli

submitted by Marbeth Schon

"Pluma Azteca" means "Aztec feathers" - and that's what they are, dyed 
feathers in resin. For a more detailed explanation, please see my techniques  essay
in William Spratling & the Mexican Silver Renaissance, page  188. Also the
earrings on page 220 in my third edition, in which the dyed  feathers are backed
with metal rather than encased in resin.

information provided by Christie  Romero

submitted by Marbeth Schon

Regarding your question about Norway Design at Plus, I don't think that Ole Bent Petersen was one of the designers and so far as I know the following people designed for its silver shop.

Erling Christoffersen

Anna Greta Eker

Ragnar Hansen

Hein Hoogstad

Odvar Pettersen

Tone Vigeland

The Interior Architect Bjorn Lanke was also associated with the shop.

information provided by Fred Rezazadeh

The Mark O.P. is for for Olav Petersheim, Brummunddal for Norway Silver Designs A/S

information provided by Norwegian friends of SilverForum

submitted by Rosalie Isaacs

The mark may be Parisina, which was used by Marcel Boucher for pieces made in Mexico, circa 1940s.

information provided by Christie Romero

submitted by Patrick Kapty

Lorie, I can only give you a little information on Conquistador and Parra. Conquistador was a silver company that was formed in the last half of the 1940s by a German industrialist, Axel Wenner-Gren. He purchased a number of silver jewelry and hollowware companies in Mexico City and formed what was called "the largest" Mexico City silver company. They were known primarily for their larger silver item
(pitchers, bowls, etc.) production (not jewelry) because they had more equipment for the efficient manufacture of these larger products than anyone else. They did have their own designers, but often contracted with other designers (such as Spratling and Aguilar) to manufacture and market the other designers' products. (This arrangement lasted less than three years with Spratling because of Conquistador's inability to
perform according to the terms of their contract.) Sam Moxley was the General Manager of Conquistador 1949 - 1950, and I believe that Horacio Parra succeeded him. Parra was a friend of Hector Aguilar's and helped to bring the Aguilar contract to Conquistador.

However...your bracelet was probably produced prior to Parra's involvement with Conquistador. The hallmark he used on your bracelet is different than later ones and there is no eagle mark on your bracelet. That mark was used on silver produced or sold beginning in 1949.

information provided by Phyllis Goddard

I had a similar plate by Perstorp with silver cherries on the top. The Perstorp corporation is still in business making thermoset Plastics. They describe their plastics as "amino molding compounds composed of urea formaldehyde (UF) and melamine formaldehyde (MF)"...... Applications include dinnerware, bathroom sinks, ashtrays, caps and closures for the cosmetics industry, precision medical components, electrical wallplates and switches, buttons, and much more."--this is from their web site-www.thermosets.com

Bakelite is a combination of carbolic acid and formaldehyde so technically, I guess the plate isn't Bakelite, but very close as it's a thermoset plastic. I am not an expert on Bakelite--just reading my book--so someone else may understand this better. The plate has Swedish silver marks and dates from 1948.

information provided by Marbeth Schon
www.mschon.com

I'm coming up short finding information on Peruzzi sterling. A friend and I each have a few pieces, but little knowledge on the maker. Can someone tell me if F.W. Peruzzi, Peruzzi Florence and Peruzzi Boston are all the same person? If so, is there a timeline of dates when pieces were made? Any help would be appreciated. 

submitted by Victoria


Your piece is very interesting. I don't understand the Peruzzi, Boston mark. There is a piece on ebay right now signed Peruzzi, Florence. Perhaps they had  companies in different world cities

information provided by Marbeth Schon
www.mschon.com

He is included in my both my books, Modernist Jewelry, 1940 - 1970  and Wearable Art Movement and Form & Function, American Modernist Jewelry, 1940 - 1970 and his work was included in the exhibit "American Modernist Jewelry, 1940 - 1970" at the Fort Wayne Museum of Art, 2008.

information provided by Marbeth Schon
www.mschon.com

Picasso

submitted by Jackie Weeks

The pieces were made in 1971, and P Piekainen is Pekka Piekainen- silversmith based in Helsinki from1968 to 1982. I cant find any record of the other names, so I can only assume they are the individual designers within that firm.  The eagle mark is for the company Auran Kultaseppa oy of Turku this mark is still used today

information provided by Venessa Frisbee

The mark for Auran Kultaseppa (greatly enlarged) is on page 269 of Warman's Jewelry 2nd edition.

information provided by Christie Romero

Sigi Pineda, (b. 1929) "developed his own style in the early 1950's, approaching a more international flavor to his work than his contemporaries and predecessors who were exploring symbolic Mexican themes. Sigi's version of organic modernism was inspirational in developing and establishing a new design sensibility in Taxco, Mexican modernism, adding to the established Mexican art vocabulary."  From Sigi Pineda, Looking to the Future, by Sheila Pamfiloff and Javier (Javi) Oliveres.

His work is highly collectible for it's quality and unique, recognizable designs.  It is featured in both Mexican Silver by Carole Berk and Penny Morrill and Silver Masters of Mexico by Penny Morrill.

You can order Mexican Silver, $59.95 (item #SMB001) or Silver Masters of Mexico, $49.95 (item #SMB002) from MODERN SILVER magazine books  Please add $3.95 for shipping for each book. 

information courtesy of metalsmith, Fred Zweig

From: Pam Biallas --"A friend has a brooch with a Polar Bear Logo. Any help is deeply appreciated."

From Vanessa, retrogallery--"its a Finnish ring with the Turku city mark I can not make the other mark out could it be ww?

From Christie Romero--"The mark IS difficult to see clearly, but IF it's a polar bear on an iceberg, it's for Finnish maker Kultasepat Salovaara. I have a couple of their pieces, and this piece looks similar in style. The mark has been used since 1955"

From Ramona Tung--... "I had a brooch that was marked in the same manner (813H, the Turku city mark, etc). The Polar Bear was not on an iceberg, but had its front paws raised slightly higher than its rear legs. I asked Patrick Kapty about it (co-mod of SF), and he had told me that he remembered 2 companies with Polar Bear logos from Finland, and one difference was the height of the front paws relative to the back (he didn't mention an iceberg). However, at the time, he didn't know which company it was, and we left it at that"

From Christie Romero-"-The drawing of the mark I mentioned shows the bear standing on a block of something with an irregular shape. I interpreted that as an iceberg! ;-) Now that doesn't mean that the mark will be EXACTLY the same as it is stamped on the silver. I just looked at a bracelet I have with a 1974 date letter, Turku assay. The bear's front legs are slightly higher and he's standing on something irregular and flat.

There is another bear mark, very similar, but not used until 1997. So the date letter is another important factor."

submitted by Patrick Barry

submitted by Nancy Hunt

PP does indeed stand for Carl Poul Petersen and he was Jensen's son-in-law. His firm was in business for a fairly long time (1940s to 1970s) in Montreal and did a great deal of work for the Jewish community there, as well as othernon-sacramental pieces of silver. The designs are well-made, and they often do look similar to Jensen pieces but have their own unique look.

information provided by Evelyn Yallen

Poul Petersen born 1895 died in 1977. He apprenticed with Jensen when he was 13yrs old for a period of 5 years, became a Master Silversmith, married Jensen's daughter "Inger" in 1922. Then they moved to Montreal, Canada in 1929 at the height of the depression and was employed by Birks & Son as their Master goldsmith in 1932. He then went on his own briefly from 1937 to 1939 only to return to Birks in 1939. Around 1944 he resumed his store and it remained in operation till 1975. He was the primary silversmith to the Bronfman's Family...they were the richest family in Canada at that time. According to Ola Petersen (child) about 65% of the business was conducted with elite American clients with exclusive specialty orders and if you had to ask the price well...... He crafted jewelry, flatware, tea sets, serving pieces, bar sets, etc. Fabulous pieces which are highly collected here in Canada. His prices are pretty much on par with George Jensen.

information provided by Joanne Brennan

Some of the Petersen pieces are more collectible than others; I would hesitate to say that they are all equivalent to Jensen in terms of price. The larger pieces (tazzas, serving bowls) certainly command a fair price in the range of $1,500 to $3,000 (and sometimes higher), depending on size and design. A lot of the smaller pieces, particularly the jewelry, sell for far less than the equivalent type of piece in Jensen. I have two Petersen bracelets and they are by no means as substantially made as the Jensen I have. Generally, they are hollow, though the designs and workmanship are excellent.

information provided by Evelyn

information provided by Jac Cattaneo

Pedro Pujol

information provided by Marbeth Schon
www.mschon.com

submitted by Adrienne

Though I don't know who made your bracelet, I'm pretty sure it's Italian as you often see the AR mark on Italian jewelry.

In Fred Rezazadeh's book "Collectible Silver Jewelry" he says that "The Italian national silver standard mark adopted in 1934.....(consisted) of a cartouche which contained an identification number followed by the two letter initials signifying the Italian province where the mark was registered." The photograph on page 148 is of a cartouche with two numbers and "AR." Maybe someone else can be more specific about the particular mark on your 
bracelet.

information provided by Marbeth Schon
www.mschon.com

submitted by Lisa Youell

submitted by Donald R Custe

For information on Rafael go to http://www.globalserve.net/~cbrennan/rafael.jpg     You can print out the pages

.information provided by Joanne Brennan

information provided by Paul

More information about merry renk and photographs of her work can be found in both of my books, Modernist Jewelry,1930-1960, The Wearable Art Movement and Form & Function, American Modernist Jewelry, 1940 - 1970 and her work was included in the exhibit "American Modernist Jewelry, 1940 - 1970" at the Fort Wayne Museum of Art, 2008.

information provided by Marbeth Schon
www.mschon.com

submitted by Ramona Tung

Ric:  Ric is Erika Hult de Corral, her shop is in Puerto Vallarta, opened in 1968 (she sold to other shops before that).  She worked in Taxco before going to Puerto Vallarta (she arrived in Taxco in 1966).  The "3" in the eagle mark indicates these earrings were made in Taxco. Ric studied with Sigi, and was clearly influenced by him, but, according to a newspaper article about her, she deplored copying.

information provided by Christie Romero

I believe it says "Max Ring". I think I've seen some of his pieces.

information provided by Ramona Tung

Max Reig or Rieg, I've had some items by this person.

information provided by Lonny Rosen

Max Rieg. Does anyone know who he is and when he designed jewelry? Thanks.

submitted by Donna

Max Reig was a Master silversmith at Colonial Williamsburg during the first half of the 20th Century.  I do not have exact dates.  He was commissioned and made a pair of 18th century style chandeliers hanging in the St. Bede Catholic Church.  I think this was in the early 40's. I have seen a pewter spoon marked with his mark.  He taught classes in metalwork in Virginia and had a jewelry store in the Post Office building in Williamsburg.

information provided by Fred Zweig

submitted by Adrienne Shivers

see RUTH ROACH, an uncommon jeweler

Michael Roanhorse

information provided by Marbeth Schon
www.mschon.com

Thanks
submitted by Jackie

I recently purchased this somewhat mod bracelet with an opal. It's marked ROACH2 STERLING. Does anyone know about this designer?

"Roach2" is the mark of Bill and Patsy Roach. Ruth Roach (see above) was Bill's mother.  They began showing their work in 1961 and participated in national outdoor shows winning many prizes and purchase awards. Their work is in the permanent collection of the Mitchell Museum in Illinois and several museums in Iowa.  Bill died at the early age of 57 in 1996 and Patsy is not making any more pieces.  They were a very special team.

information provided by Marbeth Schon
www.mschon.com

Charles M. Robbins

submitted by Roger Erickson

The three stamps are the hallmarks for the firm Charles M. Robbins, which began business in 1892 in Attleboro, Massachusetts and is known for its sterling and enamel jewelry and souvenir spoons.  The hallmarks are: a partially conjoined "CMR" in a diamond shaped cartouche,  an arm wielding a sword in a V shape and a bird on a perch in a rounded square.  (Although I have not seen it, another mark for the company is a different version of the conjoined letters "CMR" in a diamond with "Trade" above and "Mark" below.  Charles M. Robbins later became Robbins Co. whose mark is the letter "R" in a winged diamond shape.) Clear pictures of these marks and others may be found at http://www.souvenirspoons.com/silver.html

information provided by Caroline Crystal

information provided by Marbeth Schon
www.mschon.com

Robert Rose was a designer who came from a jewelry family much like mine. The Robert Rose company was located in NYC. They sold to the major catalogs
and department stores. Robert Rose died, apparently of Aids, and his family decided not to darry on his company. I think I read in one of the trade papers that the Robert Rose name has been licensed to another company.
Robert Rose, was a very talented designer who is sadly missed within the costume jewelry and watch community.

Hi, I used to work for Robert Rose when it was Coro. The designer was either Robert before he died or Gail Frund or one of her Asst.

information provided by  Beverly

information provided by Marbeth Schon
www.mschon.com

submitted by "Evelyn Yallen"

Today I purchased a lovely pin with a moonstone, signed STERLING BY C. RUOPOLI BLACK STARR & GORHAM. Can anyone provide any info on the designer or company? Thanks!!

submitted by Ellen

C. Ruopoli was a designer for Black Starr and also for Gorham, likely American, and was apparently influenced by Jensen.

  information provided by Sharon Harper

Ruopoli was a jewelry designer for Black Starr and Gorham. His jewelry was in the style of Georg Jensen. 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

thanks!

submitted by Ellen

submitted by Michelle

The mark may well be that of George W Shiebler & Co, New York. You will find the mark and examples in Warman's Jewelry by Christie Romero. You will also find the mark in The Encyclopedia of American Silver Manufacturers (Rainwater), her American Jewelry Manufacturers, and various other reference works on American silver. Sounds like a nice piece.

information provided by Willie Elliot

submitted by Heather

The "S" in a circle is for Sholtz & Lammel.  For more information on German enamels please see http://www.modernsilver.com/septemberupdate/FrenchvsGermanenamels.htm

"HAS" (Finnish mark)

The Finnish maker mark "HAS" was registered for:
Salonius & K:nit,  Helsinki  1934-1952
Oy Kultajalostamo Ab,  Helsinki 1942-1954
Salonius, Holger Albert,  Helsinki  1954-1971

Information provided by Anne Palkonen, designed-in-finland.com

I am also a "Finn fan." You can find a number of Finnish makers' marks in the Scandinavian appendix of the third edition of Warman's Jewelry. There are also quite a few photos of Finnish jewelry in the Scandinavian/Finland section, including the marks as struck on them. Ginger Moro's book, European Designer Jewelry, has a list of Finnish date letters in the chapter on Finland, as does Tardy's International Hallmarks on Silver.

There is a book of Finnish makers' marks published by a regulatory branch of the Finnish government (in Finnish), but it's not easy to come by, unless you know someone in Finland. As far as I know, there is no online list.

information provided by Christie Romero

submitted by Vera

Even though your photo didn't make it through, the initials DS in the circle of words are the initials of the silversmith. Sorry I do not know who "DS" is, however, I have seen his/her initials on many Damaso Gallegos designs, who is most well known for his flower design jewelry in sterling, such as orchids and lilies, and little bell designs (very beautiful pieces). Because the work and the style of "DS" ~ as well as the quality of craftsmanship, is similar to Damaso Gallegos, it is likely that "DS" was a student of Damaso Gallegos and worked in his shop. "DS" is one of those old Taxco mystery silversmiths that I too would like to know more about! 

information provided by Cheron

The mark is for Gine Sommerfeldt who was born June 30, 1939. She apprenticed at Tostrup and graduated from the National College of Arts, Crafts and Design in 1959. She worked for ONEIDA Ltd., New York and has had her own workshop from 1964. Her jewelry is found in several museums, and has also been purchased by HM The Queen Sonja of Norway. 

 information provided by Lennart & Svein (effie-graa.com) 

submitted by Rosalie Isaacs

submitted by BeeGee McBride

Sajen is a big designer of contemporary silver jewelry made for them in Bali, Indonesia. They show at all the Gem & Jewelry Shows around the country. They do a lot of moonstones (genuine), amethyst, garnet - all the stones you commonly see in the contemporary silver from Bali .jewelry. Price range: $15-60 or so, wholesale. (That includes necklaces etc)

information provided by Marilyn

submitted by Pat Seal

His work is highly collectible and quite rare.

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

You can order Mexican Silver, $59.95 (item #SMB001) or Silver Masters of Mexico, $49.95 (item #SMB002) from MODERN SILVER magazine books  Please add $3.95 for shipping for each book. 

information provided by Marbeth Schon
www.mschon.com

information provided by Sam 

Marbel was an inexpensive mass produced department store line, with items designed by Salvador, made of cast pot metal. All the pieces I've seen were gold plated and usually with faux stone faces, and not of very high quality. I believe them to be from the 60's, although I don't know the span of years of their manufacture.

My experience is that these pieces do not have a strong following and the prices are dramatically different than his sterling, brass and copper works.

information provided by Sheila Pamfiloff 

submitted by  Neil 

Neil. Can't tell you much except I've seen a number of pieces by H.Santana, usually marked: Sterling Mexico H. Santana, forming a triangle, also marked "silver." The work is always quite good. There is no "eagle mark" for H. Santana, meaning that the work is probably from the late 1930's to mid 1940's. 

information provided by Bille Hougart
http://www.cicatrix.com/

submitted by Jackie Weeks

Since I've been told that the GLS inside a shield is George Salo, I have been able to find him in a couple of my books, however one book refers to him as George K. Salo, so what does the L stand for in GLS? Is it the same George Salo?

submitted by Donna

Your earrings appear to be by George Salo. His mark is 'GLS" within a shield. I don't know too much about him except that he exhibited at the Third National Exhibition of Contemporary Jewelry at the Walker Art Center, Minneapolis, 1955. He was a member of the American modernist movement of that period and was from Sutton, New Hampshire. I also have some information from the Walker with photos of his work. His work is pictured in "Warman's Jewelry, 2nd Ed." by Christie Romero and also in "Silver Jewelry Designs" by Nancy Schiffer and my book, Modernist Jewelry, 1930-1960, The Wearable Art  Movement."  (please read on)

Caveat:  This is an example of  following the lead of someone else instead of doing new research. The mark GLS (in a sheild) is attributed to George Salo in Silver Jewelry Designs by Nancy Schiffer. When I first started collecting modernist jewelry, I had at least two pieces with the GLS mark that I also attributed to George Salo after seeing the piece in Silver Jewelry Designs.  When I wrote my book, Modernist Jewelry, 1930-1960, The Wearable Art Movement, I photographed a piece by George Salo that was marked "SALO."  I thought, perhaps George Salo marked in two different ways--there is not much information to be found regarding George Salo so I had nothing to help me prove otherwise.  Recently, Ramona Tung wrote to let me know that she had discovered that the GLS mark is not that of George Salo, but that of Charles Leslie Smith.  At this time, I assume that "SALO" is the correct mark for George Salo and not GLS (in a sheild shape). Please read Ramona's email below.

information provided by Marbeth Schon
www.mschon.com

I thought you might want to know that the hallmark of "GS in a shield" is not the hallmark of George K Salo.  It is actually the hallmark of C Leslie Smith, an Allentown, PA jeweler, who is still making jewelry today, and much of it is modernist in design.  Locals tell me that he's been making jewelry since at least the 1970s (they think).  He also sells other items like windchimes, wood carvings, etc.  The store is like an upscale gift shop.

I couldn't find the photo in the Warman's books, but in Marbeth's book, the mark on pg 263 (for pendant on page 172) is that of C Leslie Smith.It is a CLS in a shield, not a GS.  I was tipped off by a thread I saw in the SMPUB forums a few years ago:

  http://www.smpub.com/ubb/Forum17/HTML/000104.html

And since I happened to be in Allentown last week, I paid a visit t o the shop, and sure enough, it is the mark they use on their jewelry.   The larger pieces of jewelry (bracelets, large rings, maybe the pendants) are marked STERLING HANDWROUGHT and CLS in a shield.  This would explain why the jewelry appears regularly in the marketplace.

 information provided Ramona Tung

THey used to have a shop in the Bloomingdales mall in Chicago.Very current - large, expensive silver.M&J [Michelle and Janis] Savitt(sisters) started in the 70s designing costume jewelry. They now produce sterling and some gold, platinum and precious stones-in Dept Stores--they are mentioned in Vogue in 1972 and 1977--

information provided by Pat Seal

I recognized their name from my retailing days in the '80s, I see a mention of them in :Accessories Magazine for 1994: In addition, many bridge sterling designers like M+J Savitt, Robin Rotenier, and Erica Courtney are combining diamonds with lesser-priced precious gems and metals.

---and from Jeweler's Circular Keystone, their current Javit's Show info:M & J Savitt (Company number : 2947)10 West 46th Street New York NY 10036 Tel : 212-869-5228, 800-3-SAVITT   Fax : 212-869-7152 Booth number : 36045

Products :

- Cubic Zirconia Jewelry

- Designer Jewelry

- Diamond Jewelry

- Sterling Silver Jewelry

Also, there are a few retail jewelry shops listing them as one of the lines they carry.So, they are evidently still in business.

information provided by Marilyn in central MA

You pin is by Mary Schimpff, see Mary Schimpff-Webb, A Career Devoted to Excellence, MODERN SILVER magazine

information provided by Marbeth Schon

submitted by Leslie

I wanted to reply to this..L. Schmallie is a Navajo Silversmith.  Leonard Schmallie.  he recently passed away on 11-19-06.  He is a relative of mine and he marks all his jewelery in that way.

information provided by Kristina Kelly

mark on hand-wrought items

mark on cast items

He exhibited at the 1956  "American Jewelry and Related Objects" competition in Rochester, New York where he won "Best in Class Awards" for a silver and gold pendant and a gold and ebony bracelet as well as a purchase prize for a silver bracelet. He also won awards at the 1959 Midwest Designer-Craftsmen competition and the 1958 and 1959 Minnesota State Fair Fine Arts Competitions.

He was considered to be one of the foremost designer-craftsmen in the United States during his short career and was one of twelve jewelers whose work was accepted for exhibition at the Brussels World's Fair. 

His work is featured in both of my books, 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.

information provided by Marbeth Schon
www.mschon.com

submitted by Elaine Kula

I'm not sure if you mean Carl Schoen. If so, he was a silversmith from Baltimore (probably originally German, but I don't know). I had a handhammered ring by him at one time. His mark is very distinctive being a vertical conjoined and elongated "C S". For those of you who have the book, there is a photo of a ring in "Silver Jewelry Designs" pg. 130 by Nancy Schiffer.

information provided by Marbeth Schon
www.mschon.com

submitted by  Vanessa Paterson.

Ora Shifriss, Israel

Submitted by Marbeth Schon

This mark puzzles me: 
I see a similar mark in Bille Hougart's book ( page 22)  but WHO is the maker of this piece?   Note the 4 toward the bottom of the shield ? ? ? I'd sure appreciate some help.  MEXICO is also hand engraved below the hallmark.  ( no
eagle ) style is melon shape pot.  Very Heavy and Fine Silver Workmanship. 

submitted by Sue

submitted by Nora

Taken from http://www.silverhuntress.com

submitted by Evelyn Yallen

"Noble Smith"

submitted by Ellen S  

Noble Smith was the pen name of Shirley Smith, an extremely talented silversmith who graduated from high school in 1946 and then attended the Boston Museum School in the early 1950s.  The design quality of her work is equal to that of some of the more well known and well respected artist/jewelers of the mid 20th century.

Information provided by Marbeth Schon
www.mschon.com

submitted by Jackie Weeks

The name of the company/maker "Smykkesmeden" means "the jeweler". Smykker = jewelry (pl) Smeden = the smith.

information provided by Anette Floystrup

This piece I am fairly sure is NOT sterling, but probably plate, though I am sure the amethyst is natural. Reminds me a lot of the Jacob Hull stuff for B & D (forget what that stands for :) which was also plate. There is a reason that these makers didn't use silver at that time besides the obvious cost issue. There was a movement away from the use of all 'precious' metals in certain artistic/design circles in the 60s and 70s. It's at the same time that you see so much jewelry made from lucite, pewter, brass, bronze, and other low intrinsic value materials. They were reiterating the Arts and Crafts movement ideal of creating jewelry with good design value that was affordable to everyone.

information provided by Patrick Kapty
http://stores.ebay.com/California-Dreamin-Retro-Modern-ETC

"925" and crossed hammers over an eagle

submitted by Marbeth Schon

Yours would be called a bysølje and it could be Danish. It will be a bit hard to tell age till you track down the maker.

information provided by Pat Talbot

You'll never believe that I also recently bought a similiar pin, and don't know it's origin.My pin has a "C" clasp, and definitely is old. Not a tourist piece. I have been searching for its origin as well.

information provided by Joan Gruzen

As a native born Dane who spends one or two months a year in Denmark now, I can assure you that I have nowhere ever seen anything like the pieces which we have been shown. They are sweet, but they are absolutely not Danish.

Danes have, by the way, never used filigree work as folk-costume jewelry. Indeed, I am quite unaware of any specific jewelry being a part of any Danish regional folk-costume (there are many), the Danes seem to have expressed their regional differences in various lace making techniques and colored and patterned woven cloth. The Museum in my home town of Kolding (www.koldinghus.dk "click" on the British flag for English) has a superb collection of laces as well as their ever growing and spectacular collection of Danish silver (emphsis on 20 century makers).

information provided by Annette

Must agree with Annette: This piece is probably not regular Scandinavian sølje as we know it (a Swede speaking here; with own "sølje" for her area of birth folk costume). In my most humble opinion, this piece appears more Irish or Scottish to me but I could be wrong, of course. It appears "too busy" to be German, in a general design sense, methinks. The green enameling on the stylized "cross" speaks of either Tudor cross influences or an Irish style cross. The green color also supports these guesses. Moorish influence (Ireland) is seen in the scroll work, appendici.

The mark, hammers over an eagle, is unknown to me. It could represent a city (town) called Eaglehammer, f.ex. It looks more like a city/county mark hallmark than a maker's mark. It is possible that this hallmark appears in some reference work or another. I checked the British hallmarks but didn't spot this one.

This piece reminds me of newer styles of imitation folk jewelry seen in local crafts shops in various countries in Europe, not exactly a classic design but reminiscent or inspired by various folk jewelry designs over the years and executed by local craftsmen, and usually destined for the tourist industry.

Again, I have no factual proof of any of the above but am willing to wager that it is not Scandinavian, thus not socalled sølje.

Re "goldwash" sølje: Much Swedish folk costume jewelry "folkdräktssmycken" in Swedish) has no goldwash at all, it's plain silver.

information provided by Liz Bryman

If you have "Warman's Jewelry, 2nd ed. by our own Christie Romero, 2nd ed., pg. 252, shows some pieces by Marius Hammer. The brooch (not pictured in color) is in kelly green enamel, so at least there's an example of the Norwegians using that bright green enamel which is the color of both Joan's and my pieces. I realize that my brooch is more in a folk jewelry style than the Art Nouveau style of the Marius Hammer pieces, but it's a possibility that other jewelers were making similar pieces but working in a less formal style. Just a guess.

information provided by Marbeth Schon
www.mschon.com

I've seen quite a few Marius Hammer pieces (a friend collects it). The pieces were mostly blue and green, with lots of "dangles" and "coiled" wire pieces. I have a piece whose enamel color is powder blue. The color of your pieces did not seem wrong (to my untrained eye).

information provided by Ramona Tung

I have also seen a number of Marius Hammer pieces belonging to one collector. and I concur with her that there is a striking similarity in the work. The two pieces in my book are mine, but I own them because I was introduced to Hammer's work by our collector friend!

However, there remains the mystery of the mark, which is not Hammer's. So Marbeth may be correct in thinking that there were others working concurrently in a similar style, in Norway, or elsewhere. Regarding the mark, it appears to be the same "mystery mark" as the one on a piece I have, which is in a very different style - a hammered silver flowerhead brooch with a small amazonite cab in the center - quite Arts & Crafts looking. So I do hope we find out whose mark this is!

information provided by Christie Romero

As for the brooch I know the D. Andersen made this type of enamel "solje" brooch as well as M. Hammer. I am at presant in contact with the essay office in Norway so hopefully sometime next week i may be able to shed some light on this mark

information provided by Vnessa Paterson

This is the mark for Clement Berg of Norway who worked in Oslo in the first part of the 20th century.

information provided by Jay and by Eli Ulriksen

I don't know the mark on the right but i've had several pieces with that little "tankard" style mark that were also marked NORWAY. 

information provided by Susan

This little tankard mark thingy.....it appears on all Tostrup silver including stuff made by Greta Prtyz Kitellsen too.....I note that  Norweigan silver is rarely date marked , but that they used to use  weird zodiac signs as date marks during the 19th century...a variant  on a date mark... ? or is the little tankard thingy the equivilant  maybe of a city mark for Oslo or something....or something to do with  Tostrup..... ? odd how it doesn't appear on all Norweigan  things...not on Anna Greta Ecker's...or Tone Vigeland.......

information provided by Vanessa Frisbee

submitted by Rosalie

There is an E. L. Spencer Company of Providence RI listed in Rainwater's American Jewelry Manufacturers. It's a pretty lengthy listing (p. 224 for those of you who have this invaluable book). It says the company made charms, among other things, but the mark you describe is not shown here. The lastfor this company was 1922.
information provided by Christie Romero

This charm could have been part of a promotion where they took higher priced items and mixed them with lower priced items and then averaged them off. Spencer which was located in the Providence/ Cranston RI area closed in the late 70's or early 80's. They were not affilated with Spencer Gifts but they did supply them with product. That charm looks to me like a it is made with a stamped background, probably vermeil. The 3-d part is casted and is sterling. Stones are most likely
Austrian Crystal.

information provided by Paul DeFruscio

SPRATLING (fake brooch with computer generated mark)

submitted by Marbeth Schon

 I have not personally seen other examples of this pin with the non authentic marks as on yours. However, I have seen more intricate Spratling items and less sophisticated items bearing these same marks. I have been told that these specific marks surfaced on the east coast several years before the Dan Ripley auction in September 1998. The publicity surrounding the removal of these items (and, as well, items by Hector Aguilar and Fred Davis) was the first general acknowledgement that I know of concerning the increasing numbers of non authentic marks. You can find actual pictures of the items and the hallmarks on them that were withdrawn (after vetting) at Dan's website in the Archives section. www.danripley.com The auction material to look for was September 1998, Mexican Silver.

We all know intellectually that correct marks can easily be reproduced these days. And when each of us finds a "treasure," I think it is human nature to want it to be genuine, so we subconsciously look for things to substantiate our hope. It is so important to think about when an item was supposedly made. For instance, genuine Spratling items have not been made for 35 years, and his highest levels of production (1940 - 1945) means that much of what we find may be 60 years old. Does the item look like it was made with the construction methods and tools of that time period. (Many of the imposters we see now actually do have similar construction features, but often small details will give it away.) Does the item have a patina that represents many years of usage, polishing and exposure to air? Is there genuine tarnish in the cracks and crevices of the item, or, instead, has someone put a black wash (fake tarnish) on a piece...is the tarnish only in those places we normally can't polish or, if the item was recently buffed, where a buffing wheel can't reach? Hallmarks are only one tool that we need to look at, and I do think that very few dealers ever deliberately try to deceive their customers. There is no way we can expect dealers to be absolutely current and "the most knowledgeable" about each of the many items they offer for sale. Each of us as buyers must assume some responsibility for knowing something about which we are planning to spend - sometimes sizable -amounts of money.

The more each of us knows and is willing to share that knowledge, we will all be better protected against such deceptions. There are so many "good" pieces available! We just sometimes need to be reminded to put into our good sense into practice as our "head" tells us to do, rather than our "heart."

information provided by Phyllis Goddard

Also see http://www.modernsilver.com/Williamspratlinghallmarks.htm

William Spratling (1900-1967) has been called by many 'a Renaissance Man.' Throughout Mexico he is acknowledged as "The Father of Mexican Silver." Certainly the town of Taxco and its economy would be vastly different without the initiative and creativity of this man. He complemented its valuable historic past with a new vitality and spirit which recognized the importance of the indigenous culture. The artistic and economic foundation he established continues to flourish today."  (This is taken from a biography of William Spratling by Phyllis Goddard.  Please see the whole biography at http://www.spratlingsilver.com/spratling.htm)

Also read:  http://www.modernsilver.com/Williamspratlinghallmarks.htm

Information can be found in Mexican Silver by Carole Berk and Penny Morrill, Silver Masters of Mexico, by 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, $59.95 (item #SMB001) or Silver Masters of Mexico, $49.95 (item #SMB002) from MODERN SILVER magazine books  Please add $3.95 for shipping for each book. 

submitted by Judy in CA

submitted by Patrick Kapty

I recently purchased a pair of 4 light candelabras that were sold to me as Georg Jensen, however his name is not on them. They are marked Sv.T. Denmark Sterling 925 s. The style looks like Jensen. I would appreciate any info on Sv.T.

The Swan mark you are showing is not very clear,
but it appears to be a French mark used on watch cases
and other small boxes, 1893-1969. It has an oval frame
but the shape of the swan (curvature of the neck) varies
slightly. This mark was used on foreign silver imports and other products which were of unknown foreign origin and provided the casing for French products. The silver fineness also varied. Your case looks beautiful and hand tooled and though I need to examine it to be certain, I believe it to be Armenian, most likely originating from Persia or Turkey, but such works also came from Eastern Europe and were even made in France in early 1900s which carry the French
mark.

submitted by Mary

There were at least two designers working during the 
period your piece was made using "P" as part of their mark. There is the mark for K.E. Palmberg who designed for Alton and used both "KP" and "K.E. Palmberg" (in script) 

information provided by Marbeth Schon
www.mschon.com

submitted by Jackie Weeks

In the Mystery Marks forum, Jackie Weeks asked about a mark "the silversmith" . That mark I believe is from a jewelry manufacturer and shop in Greenwich Village NY on W.4th st. from around 1956 to the present. I worked there in 1958.

information provided by Ken Darling

(this is a Mexican mark)

submitted by Ramona Tung

he winged T hallmark belongs to the Gaylord SIlvercraft Shop of Wallingford, CT. it was in > operation from about 1925 to 1944. Pieces were made at the Gaylod Sanatorium, where silver was made to > keep patients busy. A total of 481 patients made > silver, and about 30,000 items were produced at the shop in the 19-year span. To find more specific information, including a list of what Gaylord Shop made and in what quantity, use the following link:http://www.smpub.com/ubb/Forum1/HTML/000038.html

information provided by Paul Lemieux

submitted by Nancy Hunt

Regarding T-2, I've seen the mark on findings of jewelry which were obscure and unsigned as well as on findings of pieces by Ed Wiener. I've always thought that it was the mark of a findings company that was used by many during the '50s, but I may be wrong.I have a wonderful pair of studio cufflinks with an abstract fish design marked: "-LLAL CONE". They look very much like the work of the mid-century modernist jewelers and the cufflink bars are marked "STERLING, T-2" Every time I have seen this mark it has been on the part of the jewelry that is probably manufactured by another company and used by the jeweler.

submitted by Marbeth Schon

The big question is about some pieces by Ed Wiener. I have some that are marked with his name and the earrings to match are marked Sterling T2. I also have a set that is only marked T2 sterling and no name. This set is the
open star as pictured on page 255 in the Silver Jewelry Designs by Nancy Schiffer. I would appreciate any info on this mark.

 submitted by Lonny

(mark for Thomae Co.)

submitted by Heidi

submitted by Roger

submitted by Elaine Kula

(Example is a pin that appears to be marked TR-97)

submitted by Terri

Penny Morrill in her book "Mexican Silver" gives the clearest explanation of the current Mexican hallmarks. Penny says..."Today each silversmith is given a mark which consists of a series of letters and numbers. The first letter refers to the city or town, "T" for Taxco," "M" for Mexico city. The next letter is the initial of the first or last name of the silversmith and the number designates the position of the silversmith on the list under that particular letter.." As Penny explains, the maker of your pin is from Taxco and his/her name begins with an "R." He/she was the 97th person to register in Taxco for the letter "R."

Information provided by Phyllis Goddard

As an addendum to Phyllis' quote from Penny's book, this form of registry mark has been in use since circa 1979, so the mark also gives a clue to the piece's age - no more than about 20 years.

information provided by  Christie Romero

submitted by Beth Scott

submitted by Pam Biallas

"AKT" is the mark for Tammen Koru Ky of Turku, Finland. AKA Tammen Koru Oy. Apparently the mark is the owner/artist/designer's name Alpo Tammi, not sure what the middle initial is. This person has been around since the mid-50s, and worked in Turku, Helsinki, and Joensuu over the years, and was still in business in 1988.

information provided by Patrick Kapty
http://stores.ebay.com/California-Dreamin-Retro-Modern-ETC

Susan Williams

I found this site with a search.http://www.sanatgalerisi.com/art/takiatolyesi/index.htm
Taki might be this Turkish artist.

information provided by Sue Sinclair in FL

submitted by Ellen Solway

submitted by Roger

I thought we had a request for this maker at another time, but couldn't find  it on the mystery marks page or in previous emails. I wish I could tell  you something other than I'm pretty sure it's Danish and certainly looks Arts  & Crafts. None of my resources lists "Thune" or Guldsmed Chr. Delphin  Elverum. It appears to say "-???----- your country" so must be historical  and/or patriotic in nature. I love the shield around the piece. I can't  read the word "Vaerg"--maybe someone else can help.

information provided by Marbeth Schon
www.mschon.com

Bill Tendler was an American modernist jeweler who hand made pieces in his studio/shop in New York's Greenwich Village from 1952-1981. More information and photographs of his work are found in my book  Modernist Jewelry 1930-1960, The Wearable Art Movement, pages 82,83.

submitted by Evelyn Yallen

(Example is a pin --very well made, onyx in silver with inlaid brass and silver with hanging pendants of alternating onyx and turquoise. Also marked: "STERLING, TAXCO, 925, HECHO EN MEXICO, PIEDRA NEGRA, T119". )

submitted by Marbeth Schon

I can not say this for certain, but I believe the Tono signature with the ~ above the "n" and "AC" was for Antonio (called Tono) Castillo.

information provided by Nancy Hunt

Although I can't say "for sure," I will say "extremely likely" that this is Antonio Castillo. Los Castillo was one of the few talleres in Taxco to stamp the names of their techniques on their pieces. "Piedra Negra" (black stone) refers to the inlay work that Los Castillo was famous for. The look of the piece also says Los Castillo to me.

information provided by Christie Romero

I just got off the phone with Don Antonio Castillo. He is in good health, and still working on his new designs. Still an artist, after more than 60 years!......We discussed his use of the AC mark, and he states that he only used this for a few pieces, that were in the center of his mark "Cobre Artistico". It is also marked "Los Castillo". I have this mark on a pair of his vintage copper angel candelabra. He states that he has never used the mark "Tono", with or without the tilde! So, the "AC" "Tono" is NOT Los Castillo.

information provided by Sheila Pamfiloff

I have also seen a necklace with the Tono and AC hallmarks but with an additional assay mark of TC-55. While we know one of Antonio Castillo's assigned assay marks was TC-45, someone somewhere knows who was assigned TC-55 and when they finally come clean then this mystery will be solved once and for all. Is there a list anywhere
of the identified TC marks?

 information provided by Bob

information provided by Marbeth Schon
www.mschon.com

 Ellen from Santa Cruz 

information provided by Marbeth Schon
www.mschon.com

submitted by Ellen Solway

There is a firm - I believe based in Boston - called Tuttle Silversmiths, and while they are better known for their sterling flatware and hollowware, I belive they have also been producing sterling jewellery in recent years. Their flatware has a unique date marking system - there is a mark on pieces with the initials of the US president in office at the time the piece was produced (this started with Calvin Coolidge - 
CC ). Is the piece only marked Tuttle sterling or are there other marks with it?

submitted by Fiona Kenny

submitted by Patrick Kapty

Rey Urban studied at the Swedish Royal College of Arts, Crafts and Design in the1950s. He was awarded was awarded his master certificate as a silversmith in 1955, and his work has been shown in exhibitions in Sweden, Denmark and other countries.  Urban's pieces are beautifully designed, miniature sculptures to wear.

information provided by Marbeth Schon
www.mschon.com

submitted by Pat Seal

I have been researching various signed silver jewelry pieces I have with the intention of selling or swapping for vintage silver buttons. After about 6 months now I have been unable to find any information about a bracelet I have. It is signed Silver, Mexico and Johanna Von Ryn or Van Ryn. Any help on time period, collectible value, who this person is would be appreciated. 

submitted by Debra

Bille Hougart, in his book "The Little Book of Mexican Silver Trade and Hallmarks," lists this company as being active in Mexico from the 1940s. I imagine they were a U.S. company that made pieces in Mexico as well.

Maybe someone else is more knowledgeable on this subject.

information provided by Marbeth Schon
www.mschon.com

Victoria was the name of the silver shop of Ana Maria Nunez de Brilanti., founded in 1940. She worked in silver, copper, and mixed metals. Her designs are distinctive and beautifully created.  She designed a necklace for First Lady Eleanor Roosevelt who admired the piece so much that she had Ana copy it for her friends.

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

You can order Mexican Silver, $59.95 (item #SMB001) or Silver Masters of Mexico, $49.95 (item #SMB002) from MODERN SILVER magazine books  Please add $3.95 for shipping for each book.

information provided by Marbeth Schon
www.mschon.com

submitted by Cara Maria

There's a good book on WWII jewelry etc by Nick Snider called "Sweetheart Jewelry and Collectibles", published by Schiffer in 1995. Lots of similar items are pictured in this book, tho I didn't see any cuff bracelets.
I personally LOVE American patriotic stuff, even tho I'm originally from across the northern border, and agree it's especially meaningful now.

information provided by Patrick Kapty
http://stores.ebay.com/California-Dreamin-Retro-Modern-ETC  

While I haven't contributed much lately I have a suggestion on this one. Years ago I had an open sterling cuff
bracelet. Although I'm a little foggy on the design I knew it was military. Someone bought it from me
& told me this story. When someone graduated from West Point they would take a napkin ring and have
it made into a bracelet for a sweetheart. I think this was during or around the time of WWII.

information provided by Carie Z

Ranking among the very top artists of contemporary jewelry making internationally, Tone Vigeland has been a leading artist in her native Norway for almost forty years. Pioneering a movement of goldsmiths working in small private workshops hand making jewelry with an emphasis on the free artistic expression, she started her own workshop in 1961. She was followed by artists such as Gine Sommerfelt in 1964, Toril Bjorg in 1968 and in the seventies by many others.

Upon graduating from the National College of Art and Design (NCAD), Tone Vigeland got an apprenticeship at the metal workshop at PLUS (Fredrikstad, Norway) from 1959 to -61. Tone Vigeland - in the company of Erling Christoffersen, the leader of the workshop, and his wife Anna Greta Eker, were the most prominent designers of PLUS jewelry. It soon got a repetition of being simplistic modern jewelry, combining good form with sensitivity towards the materials used. Tone Vigeland continued designing for PLUS also after she started her own workshop.

In the 60s, Tone Vigeland was very obviously working in the Scandinavian Design tradition. Some of her early works bear witness of a strong influence from the Swedish artist Torun Bülow-Hübe who was working for the Georg Jensen Company in Denmark. Key terms are simple geometric forms, clean surfaces and solutions that are technically straightforward. Silver jewelry was made with stones such as Carnelian, Jade and Amethyst. Long chains and neck rings were made for pendants to be worn in everyday life. Among the most distinct pieces are pairs of sculpturous swirl earrings that cling elegantly to and around the ears.

Through her career Tone Vigeland has been represented in numerous exhibitions and galleries. Amongst her earliest prestigious contributions were jewelry for the Norwegian exibition at the XII Triennale in Milan 1960, and Expo 67, the Montreal World's Fair in Canada.

Tone Vigeland eventually had a great international break through, exhibiting in the London gallery 'Electrum' in 1981. This was followed by exhibitions in New York, Tokyo and other major cities. Her career can be characterized by a capability of continuously renewing artistic creativity, by a dialog among contrasting forms, textures and materials, creating a daring expression. In the 70s and 80s her emphasis moved in the direction of jewelry making as fine art. She would apply e.g. hammered steel nails combined with gold and small silver rings 'knitted' together to almost elastic constructions making enormous necklaces, reminiscent of ritual objects from so called primitive cultures.

(quoted directly from http://effie-graa.com/egc/library/artists/info_TVI.htm)

information provided by Marbeth Schon
www.mschon.com

submitted by Donna

submitted by Ellen from Santa Cruz

Jacob,
As far as I know (and candlesticks are not exactly my area) what you are looking at is a very thin sterling silver shell filled with...plaster, cement, Jimmy Hoffa's remains, whatever.  I have watched someone salvage the silver from a half dozen damaged candlesticks (they are not generally repairable) and after a half hour of fussing he didn't have more than a few ounces of silver for his time.   I buy these type pieces out of estates and yard sales for resale at fairly cheap prices and have never seen a really nice piece of silver labeled this
way.

information provided by  Cris Telgard, Tampico Imports

I am trying to research the following mark and am having very little success. This is on a cigarette case and reads Weinstabl Moricz Pozsony, along with the hallmark K.W and what looks like an octogon in a square.

I know that Pozsony is in the Czech Republic but that's all I've been able to discover. I was told this piece (sorry, don't have photos because the seller is trying to determine a price) is circa 1900, Austrian seccession period.

submitted by Evelyn

Your pin and earrings were probably produced at the WENDELL
AUGUST FORGE.  Most likely, they are aluminum. I am not sure if the company ever produced any items in silver. There is a lot of information available on line. You might want to take a look. 

information provided by Julie Kontor

Ed Wiener (1918-1991) was one of the most well-loved and respected modernist jewelers of his day. Though almost entirely self-taught, he possessed a magnificent appreciation of form, line, and color together with an amazing ability to uniquely apply the ideas and principles of modernism to his life's work.

His work is featured in every major book on American mid 20th century studio jewelry.  Biographies of Ed Wiener and photographs of his work can be found in both of my books, Modernist Jewelry, 1930-1960, The Wearable Art Movement and Form & Function, American Modernist Jewelry, 1940 - 1970 and his work was included in the exhibit "American Modernist Jewelry, 1940 - 1970" at the Fort Wayne Museum of Art, 2008.  Please see MODERN SILVER magazine archives:
www.modernsilver.com/Americanmodernistjewelry.htm 

information provided by Marbeth Schon
www.mschon.com

information provided by Marbeth Schon
www.mschon.com

World Moulded Metal Co., Ltd.

submitted by Carolyn Sunday

This is the mark of World Moulded Metal Co Ltd who first registered in London in
1945. They are no longer registered.

information provided by John

submitted by Sharon

submitted by Michele Donahue

submitted by Rosalie Isaacs

If you really can't find the owner of the hallmark you could try contacting the London Assay office. the Address is: The Assay Office, Goldsmiths Hall, Gutter Lane, London, EC2V 8AQ. the telephone number: +44 (0)20 7606 8975.
There email address is: admin@londonassayoffice.co.uk.

This site is well worth looking at if you want to understand the history of the UK hallmarking system.
http://www.thegoldsmiths.co.uk/

information provided by Richard Whitehouse

submitted by Rosalie Isaacs

Your piece was made/manufactured by Henry Winograd. I met this man approximately 10 years ago and he was living in Rego Park, Queens I believe. He may still be alive and was probably in his late 60's at the time. He came from Europe (might be Poland) and he did museum and church restorations of their silver pieces (religious and precious antiques I would guess). I saw photo's of some of his restoration work and it was most impressive.

He began a line of pins, pendants, small boxes,etc. from molds he made from antique pieces and from adaptions. They were made in those days from 999 fine. Later on he used 925 and had a Copyright mark on his pieces as well. They were surprisingly inexpensive......$45.00 for an exquisite brooch and they were often in two or three sizes and could have borders around them or be without a border/frame detail. He had a catalog and sold in small numbers to dealers and small shops. I do not think at the time he had a representative. His pieces could be easily found in the General New York area. Perhaps museum gift shops as well. I do not know if his son eventually took over the business and continued doing the pieces. I do believe there was a business up until a few years ago, and it may still be in operation. Essentailly the pieces look more important and impressive then they were sold to be. He did a number of delightful pieces of children and mother and child designs. There was also a large brooch of two angels that was a real winner. While these weren't mass produced, they were not hand made either and probably had a limited amount of hand finishing work done on them. He was quite skillful on oxidizing and patinating the pieces. If his son hasn't continued the business, I would guess his pieces will eventually be quite collectable. I believe he told me he made them from molds.

information provided by Lolly Commanday

"Sterling"

submitted by Patrick Kapty

submitted by Wendy

A friend of mine has identified this mark as Peter Guy Watson. A similar style
ring sold on Ebay recently for about 70GBP ($110). There is a ring and pendant
set currently listed on eBay US at $1500 - rather ambitious maybe!

information provided by Carmel (UK)
 

Weckstrom jewellery always had marks on however he did not always sign BW on pieces but there would be the lapponia logo on all of the jewellery going back to jthe late 1960s which is a crown in a box some say it looks like a large W in a box.Be careful I see many things on the net that people say are Weckstrom when they are NOT .

information provided by Vanessa Paterson, Retro Gallery.

Tapio Wirkkala

This looks to be the Finnish designer Tapio Wirkkala's Silver Moon Pendant.

information provided by Sarah, Cambridge (UK)
 

submitted by Jackie Weeks

I went to school with Marci Zelmanoff - Southern Illinois University in the late 60's - She started out as a painting major and then switched to metals and began making macrame wire jewelry. I believe she tried her hand at teaching somewhere near Detroit after graduating and then moved to NYC. By the early 80's, I saw some slides of her work - brooches - wires fused to flat sheets to make gestural drawings of female figures. Last I heard, she was no longer making jewelry.

information provided by Mary Hu

Marci Zelmanoff's jewelry was featured in an article in Craft Horizons, Feb. 1971 and a photograph of one of her sculptural body pieces from that era was on the cover.  

Zelmanoff was born in 1942 in Philadelphia.  She studied at the Rhode Island school of Design and received a MFA at Southern Illinois University. She began her career as a painter, but switched to sculpture in 1964.  Her primary influences were her teachers, Brent Kington and Olaf Skoogfors.  She had a "one man" show at the Edward Sherbeyn Gallery in Chicago in 1971. Her jewelry was described in Craft Horizons as incorporating "tenth century Celtic art, art nouveau, and the irreconcilable present."  Marci Zelmanoff is also recognized in "Jewelry Concepts and Technology" by Oppi Untracht.   

information provided by Marbeth Schon
www.mschon.com

(example was a brooch.marked, ZINA 925" )

submitted by Heidi

Ziegfeld

information provided by Marbeth Schon
www.mschon.com

Zoltan White

"MADE IN ENGLAND, STERLING"

(also continuing discussing regarding British hallmarking)

submitted by Marilyn Ostrow

(the second example is a ring. The markings are: MADE IN ENGLAND, STERLING, ZW & Co. The stones   are genuine (amethyst, citrines, sapphire, peridot), but not the best quality. I believe it was a pin converted to a ring. To me, stylistically, it screams Sibyl Dunlop. For reference, see: Karlin, "Jewelry & Metalwork in the Arts & Crafts Tradition", page 54 - the pin with the hexagonal amethyst has silver scrollwork that is very similar around the green faceted stones Schiffer, "Silver Jewelry Designs", page 99 - the pin in the bottom right hand corner also is quite similar and has faceted stones. )

submitted by Ramona Tung

Z.W. & Co. is the mark for Zoltan White, a British Arts & Crafts jeweler.

information provided by Mary Marchione

This is something I've been wondering about for quite a while.  I own several pieces by ZW&Co, who to my understanding was in business from possibly circa 1900 til at least 1940's (not sure about the latter date). All 4 of the pieces I own are marked "ZW&Co", "Made in England" and "Silver". BUT - why aren't they marked with the regular British hallmarks that I thought pieces were supposed to be marked with during that era?  Wasn't it a requirement?  Were these made for export?  Or what?

submitted by Marilyn in central MA

British (and some other countries') hallmarking laws were not always enforced with jewelry. Many manufacturers evaded hallmarking, especially when the amount of silver in a piece was not great. I can't cite the source off the top of my head (this information is not found in most books on hallmarks), but when I have more time, I will try to find out where I got this info. I'm thinking it was in Shirley Bury's 2-volume opus, Jewellery 1789-1910, The International Era. (And trying to track down citations in THAT source does take some time!).

I have photographed a number of British pieces with no hallmarks at all - even Liberty & Co.'s jewelry is sometimes just marked "sterling" or "silver" with the maker's mark, but no place of assay, lion passant, or date letter. I don't believe being made for export or domestic sale had anything to do with it. From what I can gather from my reading, I don't think there WAS a controlling factor involved here, but if one of our British members can enlighten us further, I'd be pleased to know if there is/was one.
information provided by Chirstie Romero

hi Silverfans,just to sort out things regarding the British hallmarking act. In Briton only items over a certain weight have to be hallmarked by law. At present I gram of gold must be hallmark and I can not remember off hand the weight limit on silver.
This is why sometimes things are not assayed. Some Jewellers insisted that all items are hallmarked that they handle. others it was a matter of cost effectiveness.
So there are legal weight limits.

--continuing with the discussion on hallmarks on British Jewellery, the minimum weight before it must be assayed by law is 7 grams for silver 1 gram for gold, However there are some exceptions on this, any jewellery which is of artistic value and that hallmarks would damage the work or the item can not be hallmarked due to it being delicate these are exempt lot of studio works did not get hallmarked due to the costs involved like the British arts and crafts movement a lot of that is not Hallmarked. I would say 90% of all silver is hallmarked and 99% of gold is hallmarked. It is rare to come across un hallmarked British Jewellery but it does happen also a lot of Companies did have there own punches and could punch there own company name in without it going through assay which only really tests the content of the metal involved.

I am posting a link to the Birmingham assaying office that I hope all will find helpful.  http://www.theassayoffice.co.uk/html/assay_mainframe.html
The hallmark act of 1974 changed in 1999 so if you deal in British Jewellery this will help you identify some of the changes that many of you may not be
information provided by Vanessa Paterson.  

submitted by Marbeth  Schon

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