Newsletter October 2012 - media.virbcdn.commedia.virbcdn.com/files/0e/0c5c33d89db72e2f-Clarke2012b.pdf · Ph 02 9489 5311 Vice-President Dave Mc Manamon [email protected] Ph 0405 429

October 2012

NEXT MEETING5 November at 7pm

WJ Sanders, 32-36 Fitzroy Street, MarrickvilleGunpowder, treason and plot theme.

Viewing of the Sanders workshop.

Page 1

The Silver Society of Australia Inc.

In this Issue...The President’s Letter 1The President’s Annual Report 3Treasurer’s Report 2011-12; Offi ce-Bearers 4Members’ Silver and Committee Members 5Silver Spoons and Australian Flora 6-8A Silver Gem from the NGV 8Hollowware Manufacture in Ancient Crete 9-11Here and There 15-17Auction Results 12-14, 19

© 2012 The Silver Society of Australia Inc.

The resident’sLetter

Lett erLett erNewsNewswww.silversociety.com.au

ear Members,

Let me start with the AGM which was part of our September members’ meeting. A big “thank you” to the committee members who have taken on a role for

another year: it really is a pleasure working with such an enthusiastic and capable group of people.

Wasn’t the talk by Christina Clarke interesting? The methods used in antiquity to produce metal objects are not often part of our discussions and I found it surprising that beautiful objects could be produced with such basic and rather crude tools as a stone and a dent in a block of wood. It also brought home just how costly in terms of effort expended and time consumed each item would have been. This is such a contrast to our modern society in which items, such as containers, can be produced so cheaply that they not worth washing up and are thrown away after a single use. Our thanks to Christina for travelling from Canberra for the occasion and her address on this fascinating subject. See pp9-11.

Our next meeting is on the 5th of November at WJ Sanders. Remember, remember the fi fth of November, gunpowder treason and plot. Our theme is “Explosives” so if you have any items with a military connection, or powder horns, vesta cases or anything connected with fi re and the like, please bring it along.

Dennis de Muth from WJ Sanders is working on a

particularly large and exciting project and will talk about it to the assembled members for a while and then take questions from interested members. Also, members will be able to watch work being done on the project and the factory will, as usual, be open for inspection.

As it is our Christmas meeting, a silver drinking vessel if you have one would be handy to have with you and refreshments on a Christmas theme would be appropriate. The next “ Big Thing” is our visit to the Southern Highlands in October. The response has been very good indeed and we have a “full house” I believe. It will be nice to see everyone, especially our friends from other states. The resourceful Rosemary Roberts has arranged a terrifi c programme and it promises to be a memorable and enjoyable few days.

Yours sincerely, Paul Larter President The Silver Society of Australia Inc________________________________________________________

Presentation of a Silver Society engraved pen to President Emeritus Len Russell (L) by President Paul Larter (R) for Len’s valued contribution as President. Photo: Ron Erratt

Newsletter — October 2012Silver Society of Australia Inc

page 2

The Silver Society of Australia Incfounded in 1988

PresidentPaul Larter

[email protected] 02 9489 5311

Vice-PresidentDave Mc [email protected] 0405 429 463

TreasurerJohn Heathers


SecretaryRon Erratt


Newsletter EditorPatrick Street


Committee MembersChristine Erratt

Gillian McPhersonRosemary Roberts

John Szasz

Life MemberBrian Eggleton

For all enquiries about Subscriptionsplease contact the Treasurer

Correspondence to PO Box A2083, Sydney South, NSW 1235

email: [email protected]

Next Society Meeting for 2012 at WJ Sanders

32-36 Fitzroy Street, Marrickville

Next Meeting Monday 5 November

DISCLAIMER:Opinions expressed in this Newsletter

are those of the authors and do not necessarily refl ect the views of the Society.

he November 2012 Meeting of the Silver Society will be held on Monday 5 November 2012 at WJ Sanders, 32-36 Fitzroy Street, Marrickville. It will be a memorable meeting and also our Christmas party. Dennis de Muth has an exciting Project to talk about and we would like the attending members to bring along a silver drinking vessel if you

have one and refreshments on a Christmas theme would be appropriate.

The Society’s President — Paul Larter — who was re-elected as the Society’s President has written a detailed Report of the Society’s achievements in 2011-2012. See p3. And on p4 we set out the Treasurer’s report and photos of the new Committee members plus the interesting objects which graced the Members’ Silver table at the AGM. See p5.

Christine Erratt — the acclaimed author of the authoritative reference identifying maker’s marks on Australian silver (Marks on Australian Silver 1950-2005) — has contributed another valued article titled Silver Spoons and Australian Flora. This article explores the connection between the distinctive Australian fl ora and the silver objects which depict the fl ora on spoons. See pp6-8 for these revealing details.

Dr Matthew Martin, the Assistant Curator, Decorative Arts at the NGV, Melbourne has chosen a fascinating pendant from the NGV’s impressive collection of silver objects. This beautiful pendant is an Australian piece and was designed by James Fawcett and made by Alan Walker. See p8 for further details about this special piece.

Ms Christina Clarke who was awarded the 2011 Silver Society Award for Contemporary Silver gave an impressive presentation at the recent AGM. It was titled Hollowware Manufacture in Crete during the Bronze Age. The details of her fascinating presentation can be found on pp9-11.

Brooke Astor who died in 2007 at the ripe old age of 105 was the immaculately dressed grande dame of New York, a philanthropist, taste-setter and host extraordinaire, at ease with royalty and world leaders. She owned two sumptuous homes: a 14-room duplex on Park Avenue and her country estate – Holly Hill – overlooking the Hudson River in Briarcliff Manor, New York. In September 2012, Sotheby’s New York offered 901 objects that belonged to Ms Astor: European and Asian furnishings, Old Masters, Qing Dynasty paintings, tea sets, silverware, jewellery, a porcelain menagerie and more than 100 dog paintings. See pp12-13 for some of the results. Also, we have details about other recent Auctions (especially the Shapiro sale of Alexander Dick spoons) on p14 and a variety of objects by Philips on p19. Happy reading!

A new book on Australian Silver is about to hit the shelves. See p17 for further details.

Finally, sincere thanks to Christine and Ron Erratt for their valued assistance and guidance in the preparation and compilation of this Newsletter. Much appreciated, Christine and Ron. —Patrick

Silver Society

ilvertorial


page 3

I would like to mention the meetings we have enjoyed over the last year, starting with our Christmas meeting where Jolyon Warwick James impressed us all with his capabilities as a

quizmaster, in a “Jimmy Edwards” St Trinians sort of way. Or should that be Hogwarts, these days?

Then in February, we had the engraver, John Thompson, give a most engaging talk on his profession with some extremely humorous anecdotes, in particular his brush with Scotland Yard.

The Celtic night in March was of particular interest, not least because we had the benefi t of fascinating addresses by Christine Erratt and our Celtic member and Vice President, Dave Mc Manamon.

In May, we had the long-awaited joint meeting with the Ceramic Collectors Society. This was a considerable success and, between the two societies, we had the hall full to overfl owing. Our team, consisting of Jolyon and Chris Jolliffe, did us proud and, despite the crash of breaking china, we have had calls for a re-match at some time in the future.

Our meeting in July on the theme of travel was led by Janette Emmerson and Max Boots and I would like to thank them both for making it so informative and interesting.

Other events during the year started with a magnifi cent lunch hosted by Rosemary and Max at their residence. The weather gods really smiled on us that day and it will be long remembered by all. A huge “thank you” to Rosemary and Max for making it such a success.

Then in March, we visited St. James Anglican church in the city. As is often the case, the silver, all carefully laid out for our benefi t, was a mixed bag – that often being where the interest lies. After looking at the silver most of us enjoyed a brief conducted tour of the church and lunch nearby. All this was organised by the resourceful Christine Erratt and a most enjoyable morning was had by all.

I would like to thank the Committee members for the fabulous support they have given me over the year.

Patrick Street has done, and continues to do, a magnifi cent job producing the Society Newsletter. I understand that we have had comments from overseas that our newsletter is one of the best produced anywhere and we owe Patrick our most grateful thanks for making such a consistently good job of it.

Ron and Christine Erratt have given an enormous amount to the Society over the years, as has John Heathers. Their support has given stability to our organisation and, as President, I have found it unstinting. So, a very special “thank you” to Christine, Ron and John.

We must also thank Gillian McPherson who serves both on the committee and has taken up the catering co-ordinating role after our terrible loss of John Moller Murphy. John was ably assisted by Kitty Szasz who took on the role after John’s death. Largely an unsung role, this is one of the fi rst to generate

complaints if not done well, so our thanks to Gillian. And not to forget the generous contribution by so many members of delicious food which we so eagerly consume.

John Szasz is our archivist and he has our thanks for storing and cataloguing books, papers and documents dating back to the inception of the Society. John has been working on the archives to record the fi rst 25 years of the Society and we look forward to seeing the results of his work in the future. Many thanks to John.

Our website is an important resource for the Society and keeping it current in all respects is, obviously, a continuing task. Len Russell has undertaken this role for the last few years and also that of the Society’s President for a period. He will be standing down from the next Committee and we thank him most sincerely for the efforts he has made on our behalf. Len was presented with one of the Society’s specially produced engraved pens.

Dave Mc Manamon, our VP, in addition to the Celtic contribution mentioned previously, has the role of fi nding us accommodation for our members meetings, which has been a bit of a moving target over the last few months and may well be so for a few months to come. Dave will also be taking responsibility for the important task of maintaining our website in the future. So, many thanks indeed Dave.

Rosemary Roberts needs special mention. In addition to opening her and Max’s residence to us for the magnifi cent luncheon I have already mentioned, she has both served on the Committee and has single handedly organised our forthcoming visit to the Southern Highlands. I can’t speak too highly of the detailed and thoughtful way Rosemary has put the programme together for this event and we all look forward to it with great anticipation. Our very grateful thanks to Rosemary.

Although not a member of the Committee, it would be remiss of me not to thank Brian Eggleton for his contribution at every meeting. What superlatives can I use to adequately describe his depth of knowledge and his willingness to share that knowledge with us?

Brian is an inspiration and, as founder and Life Member, has contributed a huge amount over the years for which we are most grateful. I might add that it was Brian who invited me along to a meeting many years ago, thus adding a new and absorbing facet to my life.

Brian is not here this evening, but I did speak to him a week or so ago. He asked me to relay his congratulations for the way things are going and every good wish for the future of the Society. Brian has our most heartfelt thanks for his contribution over so many years.

Just a couple of fi nal points I would like to make. We have maintained our membership numbers despite meeting in Crows Nest for the last year, a venue which some members fi nd diffi cult to attend and the other point is that our fi nancial resources are in good shape. Ron, standing in for John Heathers, will elaborate on that more fully in a moment.

In conclusion, as most of you will know, next year will be the 25th anniversary of the Society. Without going into details now, I can say that there is a programme being planned that will involve lots of activities and, hopefully, enjoyable participation by everyone.

Thank you all for your support over the year.

Yours sincerely, Paul Larter President The Silver Society of Australia Inc

THE PRESIDENT’SANNUAL REPORT

PAUL LARTER


page 4

Treasurer’s Report 2011-12Treasurer’s Report 2011-12by John Heathers, Treasurerby John Heathers, Treasurer

Treasurer’s Report for the Financial Year 2011-12.The Income & Expenditure and the Assets & Liabilities statements for the Silver Society are attached below, for circulation at the AGM to be held on Monday 3rd September 2012.

Unfortunately, I am again unable to be at the meeting and so am unable to personally speak to this report. However, I am able to report that this year we have achieved the excess of income over expenditure of $1,189.56. Owing to a series of favourable circumstances including further increased advertising sales, decreased printing costs and supper expenses and the small increase in membership fees we have a respectable surplus. However, it is still appropriate to aim to generally meet our annual expenses from annual income, fi nishing the year with either a small positive or negative result. So long as we can continue to slowly grow the membership I see positive fi nancial times ahead as we move into our 25th Anniversary year.

This year our accounts have again been audited by our Honorary Auditor, Mrs. Christine Erratt. Her report is available and again I thank her on your behalf for her assistance.

John HeathersHonorary Treasurer 6 August 2012

The Silver Society of Australia Inc.Statement of Assets & Liabilities as at 30 June 2012

SILVER SOCIETY OF AUSTRALIA INCAnnual General Meeting Held on Monday 3 September 2012 at the Crows Nest Centre, 2 Ernest Place, Crows Nest NSW.

Opening of Meeting: The President, Paul Larter, opened the Annual General Meeting at 7.00pm. Secretary Ron Erratt acted as Chairman in the absence of Life Member Brian Eggleton.

Attendance: Attendance and apologies as per attendance book.

Election of Office Bearers:

Item 4 – Election of Committee membersThe Chairman declared all positions within the Society vacant and notifi ed the meeting of the following nominations for Executive positions within the Society:

• President – Paul Larter• Vice President – Dave Mc Manamon• Treasurer – John Heathers• Secretary – Ron Erratt

For the general Committee there were the following nominations: Christine Erratt; Gillian McPherson; Rosemary Roberts and John Szasz with Patrick Street as the Newsletter Editor.

Because there was only one nomination for each of the Executive Positions of the Society and fewer than the maximum number of nominations for the position of Committee members permitted under the Constitution of the Silver Society, there was no formal election required and accordingly, the Chairman Ron Erratt declared each of the persons nominated duly elected to the position so nominated. The following were elected: President: Paul Larter.

Vice-President: Dave Mc Manamon.

Treasurer: John Heathers. Secretary: Ron Erratt. Committee members: Christine Erratt, Gillian McPherson, Rosemary Roberts and John Szasz.

Newsletter Editor: Patrick Street.

2011 - 2012 2010-2011Members Funds $19,353.70 $19,177.63Plus Excess of Income / Expenditure $1,189.56 $176.07

$20,543.26 $19,353.70This is represented by Assets ofBank Account $5,543.26 $4,353.70Less Outstanding Cheques $0.00

$5,543.26 $4,353.70Fixed Term Deposit $15,000.00 $15,000.00Total Assets $20,543.26 $19,353.70


page 5

Committee Members Committee Members at the Annual General Meeting of the Silver Societyat the Annual General Meeting of the Silver Society

and Members’ Silverand Members’ Silver

Silver Society’s Elected Committee for 2012-2013: L to R: Ron Erratt, Secretary; Dave Mc Manamon, Vice President; Gillian McPherson, Committee member; Paul Larter, President; Rosemary Roberts and Christine Erratt, Committee

Members. Photos: Courtesy of Ron Erratt


page 6

Silver Spoons and Australian Floraby Christine Erratt

Australia’s unique fl ora has been portrayed in the decorative arts since the early colonial times of the last decade of the 18th century. The use of

Australian fl ora to decorate silverware is of particular interest and diversity.

Such early colonial works before the 1850s are few and far between – a combination of lack of wealth and paucity of available silver. By the second half of the 19th century the colony had become wealthier. The gold rush of the 1850s brought a massive infl ux of immigrants, as did the promise of a better life for many from Europe at that time. German and Danish immigrants to South Australia included a number of trained silversmiths who found a society ready to support their work, which became prolifi c. It was the ‘golden age’ of Australian silver. Huge centrepieces were commissioned as were elaborate trophies and a wide range of ecclesiastical wares. Most of these items bore some form of fl ora as decoration. Tree ferns and their delicate fronds abound as do vine leaves; Sturt Desert Peas (Swainsona) decorate the handles of a trophy made in this era in Adelaide. Similar works were produced in other major cities of the colony mainly by English and Scottish immigrant silversmiths, but not in the same profusion as they were produced in South Australia. However, there seems to be little evidence of fl atware being adorned with Australian fl ora up to this time.

Federation of the states of Australia was declared in 1901 and this brought with it a new jingoism and pride in things Australian. The 20th century also saw the evolvement of Arts and Crafts Societies. Here was an opportunity for hobbyists to learn the art of metalsmithing, including silversmithing. Many found spoons to be appropriate items to be made and Australian native fl ora suitable decorative motifs, specially for spoon handles and fi nials.

The unique wildfl owers of Western Australia (WA) presented a delightful range for adornment of fl atware not only for the hobbyist but also for the two main silversmithing businesses there. Linton Silver and Harris & Sons were the two particular businesses in WA that saw openings for such souvenir Australiana spoons. Linton Silver spoons of this type, designed by Jamie Linton (1904-1980), continue to be made currently as do those originally designed by Charles and Harold Harris (Harris & Son) commencing in 1952. The range includes Geraldton wax (Chamelaucium), spider orchid (Caladenia), Grevillea, Leschenaultia, kangaroo paw (Anigozanthos), wattle (Acacia) the national fl oral emblem of Australia, and gum leaves and gumnuts (Eucalyptus). Many other WA silversmiths have seen the beauty and uniqueness of their State’s fl ora and have incorporated them in their work. These include the late Glenice Matthews who portrayed Leschenaultia in enamel on the handle of a silver ladle. NSW manufacturing silversmiths, WJ

Sanders, also produced sets of spoons with WA fl owers on the fi nials in the 1950s.

Other Australian native fl owers are portrayed in the work of silversmiths from other States. Gumnuts and gum leaves are prolifi cally used by silversmiths throughout the country as decorative elements in their work. Victorian Peter Gertler has a range of fl atware so decorated including the caddy spoon illustrated. NSW’s June Higgs also portrays them in a set of teaspoons. The waratah (Telopea) appears in the work of Queenslanders Libucha and Platt and of NSW’s Design Silver. The bottle brush (Callistemon) adorns WA’s Terry Walsh’s fl atware.

This brief summary of some of the many fl oral decorative works on silver spoons made in Australia presents an insight into a much larger and collectable market.

Geraldton wax (Chamelaucium)

Spoon with Geraldton wax fi nial (Linton Silver)

Leschenaultia

Spoon with Leschenaultia fi nial (Linton Silver)


page 7

Leschenaultia in enamel on silver ladle handle detail (Glenice Matthews)

Kangaroo paw (Anigozanthos)

Set of spoons with range of WA native fl owers on the fi nials (WJ Sanders)

Wattle (Acacia)

Spoon with kangaroo paw fi nial (Harris & Son)

Wattle spoon fi nial detail (Harris & Son)

Gumnuts and gum leaves (Eucalyptus)

Caddy spoon with gumnuts and gum leaf (Peter Gertler)

Gumnuts and gum leaf detail

Set of six spoons with gumnuts and gum leaf fi nials

(June Higgs)


page 8

Waratah (Telopea)

Spoon with waratah fi nial (Libucha & Platt)

Spoon with Waratah fi nial (Design Silver)

Waratah fi nial detail

Bottlebrush (Callistemon)

Bottlebrush fi nial detail (Terry Walsh)[photos courtesy Christine Erratt]

James FAWCETT designer, English, 1863-1934Alan WALKER manufacturer, Australian, 1864-1931Pendant (c. 1910) silver, enamel 23.1 x 14.0 x 0.4 cmGift of Miss J. Fawcett, 1959. (120-D5)

This elegant necklace is a relatively rare example of Australian silverwork in a pure art nouveau style. The designer, James Fawcett, was an English-born architect and sculptor. He entered into employment with the Victorian Railways in 1889 where he worked as an architectural draughtsman. He was responsible, together with the civil engineer HPC Ashworth, for the monumental Flinders Street Railway Station in Melbourne. In 1898 he became a foundation member of the Yarra Sculptors’ Society and was a member of the Arts and Crafts Society of Victoria. He also provided designs to the fi rm of Wunderlich Ltd, major Australian suppliers of architecural ceramics and pressed metal. Where the designs for the facades of Flinders Street Station are eclectic in character, combining historical revival and late Arts and Crafts characteristics, many of Fawcett’s designs for metalwork and jewellery show a clear mastery of an art nouveau idiom, unusual in Australia for its purity. The sinuous curved forms, vegetal in inspiration, in combination with scintillating green enamels, also show the infl uence of Archibald Knox, the Manx artist whose masterly metalwork designs executed for Liberty of London form an important link between the late Arts and Crafts and European art nouveau styles.

The Hobart-born architect and craftsman Alan Walker was trained in England and, in his work as a metalsmith and enameller, was an important advocate for the principles of the British Arts and Crafts movement in Australia. The planished fi nish of this silver pendant celebrates its hand manufacture.

A Silver Gem from the NGV

by Dr Matthew Martin


page 9

The Greek island of Crete, the largest of the islands of the Aegean Sea, was the home of a culture we call the Minoans. This culture fl ourished during the

Greek Bronze Age, c. 3100 to 1100 BC, and produced some of the most beautiful arts and crafts in the ancient world. The artistic media they mastered include ceramics, textiles, faience, stone, gold, silver and bronze.

I have recently completed a PhD in the Gold and Silversmithing Workshop at the Australian National University which aimed to discover how hammered metal vessels were made by these Bronze Age inhabitants of Greece. Minoan metalsmiths produced these vessels between approximately 1900 and 1200 BC. These were made from gold, silver and bronze, an alloy of copper and tin.

Today, only about 15 vessels in precious metals remain and 250 in bronze. The commonest shapes in bronze were pans, basins, cauldrons and small and large pitchers (fi g. 1).

Larger vessels were created by riveting together hammered sections.

Fig. 1 — Bronze Shapes

This project had an approach which is unusual in archaeological studies since it combined archaeological research with metalsmithing practice. As well as being an archaeologist, I have been a practising silversmith for over a decade. The advantage of this experience is that it was possible to reconstruct Bronze Age metalsmithing processes using replicated equipment.

The initial stages of the project involved examining archaeological data to discover what metalsmithing technology has been excavated from Minoan archaeological sites.

In addition, a large number of Minoan bronze vessels were closely examined in museums in Greece and England in order to identify how they were constructed.

The fi nal stage was to recreate this technology and test its suitability for hammering vessels of the types which Minoan metalsmiths produced.

The result was two small copper bowls, a large copper pitcher, called a hydria, which is made from four pieces riveted together at the seams (fi g. 2), and a sterling silver basin with one handle (fi g. 3).

Fig. 2 — A large copper Pitcher called a Hydria

Hollowware Manufacture

in Crete during the Bronze Age

by Christina Clarke


page 10

Fig.3 — A sterling silver Basin

The use of sterling silver for the last vessel was necessary as a substitute for ancient bronzes, as explained below. The substantial quantity of silver required for this basin was purchased thanks to the generous support of the Silver Society of Australia who granted me the Silver Society Contemporary Silver Award in 2011.

The archaeological data indicates that Minoan vessels were hammered from disc-shaped ingots which were cast in stone and clay moulds. Heating for casting and annealing[1] was carried out on simple charcoal hearths which were brought to higher temperatures with blow pipes and pot-bellows, a type of bellows common in prehistoric cultures in the eastern Mediterranean.

One of the most surprising discoveries was that, although the Minoans were well-acquainted with bronze and had many tools made from it, they did not generally make and use bronze hammers. A small number of bronze hammers have survived, but they were clearly uncommon and, notably, were unsuitable for hammering metal vessels.

Instead, metalsmithing hammers were made from stone and did not have handles, but were hand-held. These stone hammers were generally spherical cobbles and pestle shapes of limestone and fi ne-grained igneous stones. That hammers did not have handles is all the more surprising because the Minoans had several other tools such as axes and adzes which did have handles.

However, although a hand-held hammer stone may seem unusual to us today, there is plentiful evidence of their use for metalsmithing by other prehistoric peoples such as the Egyptian, Incan and Mesopotamian cultures.

It is also reasonable to suppose that Minoan smiths would have used wooden hammers but, the climatic conditions in Crete being unsuitable for preserving wood over millennia, we have no examples remaining today.

Equally, they may have used hammers made from other organic materials such as hide. At present, there is no evidence to indicate the use of bone hammers.

The most common process for creating a vessel is raising, where metal sheet is hammered over a tool called a stake. As with hammers, bronze stakes on which vessels might be raised were virtually absent in Crete. The absence of any artefacts of stone which would be suitable as raising stakes suggests that they were probably made from timber and so have not survived. Wooden stakes are common in modern silversmithing workshops, so this is not surprising.

Another metalsmith’s tool which is vital for hammer-work is the anvil. Some of these have survived in Crete, and are simply fl at slabs of limestone.

Another important vessel-manufacturing technique known as sinking is the process of hammering sheet-metal into a hollow form which, today, is carved into the fl at surface of a tree stump.

After the metal has been hammered into shape, the last task is to cut back the surface to produce a polish. For Minoan smiths this required the use of natural abrasives such as stones and, probably, powdered material such as sand, dirt and pumice powder. Many stone tools which have been excavated from Minoan metallurgical sites show evidence of having been used for such purposes. These typically have fl attened surfaces marked with striations.

The types of stone are often soft materials such as limestone, marble and pumice. The abrasives listed here would be suitable for cutting back large scratches on metal surfaces, but would be unlikely to achieve a high polish. Instead, the surface was probably burnished with hard, smooth stones such as water-tumbled quartz pebbles and haematite.

After establishing this archaeological evidence for Minoan vessel-making technology and examining a number of Minoan vessels, I set about replicating the tools and equipment.

A charcoal hearth was built based on Minoan designs: walls laid in basic U-shape around a shallow scoop dug out of soil and the charcoal heaped within. I did not try to re-create the casting of the metal billet, since the evidence for this process is already strong enough that the techniques did not need to be tested.

Instead, I started with a 3 mm disc cut from manufactured plate. This thickness was chosen according to evidence from some of the Minoan vessels I had examined.

The fi rst step was to anneal this disc in preparation for hammering. Burying the disc in the burning charcoal, I raised the temperature of the fuel using a simple blowpipe, which worked very well (fi g. 4).

Fig. 4

After removing the oxides on the surface of the metal by quenching it in a solution of salt and vinegar, the disc was ready for the fi rst round of hammering.


page 11

For hammers, I collected stones with spherical shapes and elongated, pestle shapes (fi g. 5).

Fig. 5 — Various Stones for Hammers

It is uncommon today for silversmiths to hammer a vessel from plate as thick as 3mm. Usually sheet between 1 and 2mm is used since this is far more suitable for raising. Raising causes the material to thicken as the walls of the vessel become vertical. Once it is thicker than about 2.5mm, it is diffi cult to force the metal to move further.

Since the evidence had suggested that the Minoans cast billets at least 3mm thick, it was evident that any raising could not be carried out unless the material had been thinned somewhat. Initially, I imagined that the ingot would fi rst be forged out on an anvil to make it into thin sheet.

However, after some experimentation I discovered that it is far less labour intensive to sink the thick plate into hollows. Sinking not only transforms the disc into a hollow form but also stretches the material, creating thinner walls. This therefore kills two birds with one stone, shaping the form and thinning the material at the same time.

As I continued with this technique, I realised, upon looking again at Minoan vessel shapes, that almost all of the hammered vessels are open forms. A signifi cant difference between raising and sinking is that, during raising, the vessel is hammered from the outside while, during sinking, it is worked from the inside.

It became apparent, therefore, that Minoan vessels were made predominantly with sinking, since open forms are created by hammering the inside of the vessel. With this discovery, the reason for the use of hand-held stone hammers became clear, because such hammers are very suitable for hammering inside a deep vessel.

By contrast, the handle of a conventional hammer prevents the head of the hammer from reaching deep inside a vessel at an angle because the handle is obstructed by the wall of the vessel. Likewise, the absence of Minoan bronze stakes was explained because, as a rule, the shapes being created did not necessarily require raising.

However, it is clear that raising was used to some extent. Many of the vessel forms have straight, vertical or near-vertical walls which would have been raised into shape. Raising of this type requires only a simple, straight stake, which can easily be made from wood; stakes for creating more complex forms, such as vessels with narrow openings, must generally be made from metal. Once again, this explains the lack of bronze stakes in Crete.

I continued hammering the vessels, sinking the metal into large, thin-walled hemispherical forms and raising walls on a wooden stake where required. I found that the best hammer for sinking and raising was a pestle shape, though the spherical hammer did have its uses, especially for hammering in tight areas.

As the reader can imagine, all of this hammering without the benefi t of a handle to absorb the shock-waves took its toll on my hands and arms. My palms and knuckles were continually bruised by the hammers and I suffered from severe pains in my wrists and fore-arms from stress on the tendons. Clearly, metalsmithing in Crete during the Bronze Age was no easy task.

The copper hydria, made from four sections, was fi nally riveted together after the pieces had been carefully shaped to fi t each other. To make the holes for the rivets I found that simply punching through the sheet with a tool made from a metal harder than the sheet produced excellent, clean holes if performed carefully.

Throughout this project I had been unable to acquire or make a bronze similar to those produced during the Bronze Age. Unlike ancient bronzes, which are generally 90% copper and 10% tin with perhaps some traces of arsenic and lead, modern bronzes are fairly complex alloys containing all sorts of elements such as phosphor or silicon. Some modern alloys that we call bronzes do not even contain tin. I could not simply buy modern bronze and expect results comparable to those of the Bronze Age.

Silver Society members may be amused that I discovered that the metal alloy which most appropriately refl ects the hardness of ancient bronzes is in fact sterling silver. I therefore forged a punch from a sterling silver rod and found that it worked rather well for punching holes in copper sheet, though it did become blunt quickly. I then made rivets from pieces of copper rod, fed them through the holes and forged both ends fl at, holding the hydria’s sections together. Finally, I riveted on two handles forged from copper.

The last stage was polishing. For the most part, this was simply a matter of trying different combinations of abrasives to see which were the most effective. Fine-grained igneous stones and some sedimentary stones such as marble, slate and limestone made excellent coarse abrasives and charcoal and pumice fi ne abrasives. After the rough surface had been cut back, a polish was achieved by burnishing the surface with polished haematite.

The study provided some interesting and useful results. Recreating Minoan metalsmithing tools and processes provided insights into how archaeologists may interpret the uses of stone tools and how metalsmithing practices may have affected the lives of metalsmiths which, in turn, affects local economies and social structure.

For my part, as a metalsmith, it was extremely gratifying to uncover some prehistoric techniques which had been lost for several millennia with the march of technological progress.

A vital component of the project was the use of sterling silver as a substitute for ancient bronze, which would not have been possible without the assistance of the Silver Society.__________________________________________________________[1] Annealing: heating metal which has become work-hardened by hammering. Heating relaxes the stresses in the structure of the metal, softening it so that hammering can continue.


page 12

Auction ResultsSotheby’s New YorkEstate of Brooke Astor

24-25 September 2012

The Property from the Estate of Brooke Astor achieved an outstanding total of US$18,828,109 (Au$18,168,911) at Sotheby’s New York on 24-25

September 2012. Buyers competed for paintings, drawings, Chinese works of art, furniture and decorative art from Mrs Astor’s New York City and Westchester residences, as well as jewellery from her personal collection. A highlight of the sale was John Frederick Lewis’ A Memlook Bey, Egypt, estimated at US$300,000-500,000, which sold for US$1,594,500 (Au$1,538,546). The auction’s proceeds will benefi t a number of charitable organizations selected by Mrs Astor during her lifetime, including the New York Public Library, the Metropolitan Museum of Art, the Pierpont Morgan Library, and the Animal Medical Center of New York.

Lot 164: A pair of Geo III silver-gilt Coffee Jugs on Lampstands.Benjamin Smith, London 1806. On sphinx tripod bases with mask-decorated burners, the bodies engraved with contemporary arms and supporters above a key-pattern band and below a collar of anthemia, the handles rising from female masks, with grape-cluster fi nials, ivory handles. Marked throughout. Ht: 32.7cms; wt: 3716g. Est: US$15,000-25,000. Sold (Inc BP): US$74,500 (Au$71,914).

Lot 168: An Irish silver Rococo-style pierced Bowl and Cover.Pierced and chased with birds, fl owers, fruit and beaded ribs, removable blue glass liner. Bearing marks for London, 1780. L: 27.3cm; wt: (excluding glass liner) 1319g. Est: US$1,500-2,000. Sold: $US$6.875 (Au$6,636).

Lot 172: A Geo II silver nine-basket Epergne.Made 1756 with later additions. Pierced with formal foliage within gadrooned borders, fi tted with four central oval baskets, four circular dishes and four circular hanging baskets. Marked throughout, the hanging baskets by David Whyte and William Holmes, London, circa 1765. L: 72.5cms; wt: 5859g. Provenance: Christie’s London, 20 November 1980, Lot 80. Est: US$15,000-25,000. Sold: US$28,125 (Au$27,131).

Lot 177: A set of four Victorian silver tall Table Candlesticks.Richard Hodd, London, 1888. Of Corinthian column form, on stepped square bases with beaded borders and detachable nozzles, weighted. Marked on base rims and nozzles. Ht: 14¼ins/36.2cms. Est: US$5,000-7,000. Sold: US$10,625 (Au$10,245).

Lot 180: A Geo II silver large Soup Tureen and Cover.Thomas Heming, London, 1747. Oval, on four scroll supports headed by and terminating in shells, applied on each side with elaborate sprays of vegetables centred by cartouches, one crested, the cover embossed with a band of fl owers, fruits, shells and vegetables below rococo cartouches, one enclosing later arms, with artichoke fi nial and spiralled leaves. Marked on tureen and cover. Catalogue Note: This tureen is an early work by Heming, who had been apprenticed to Peter Archambo and entered his mark as a largeworker in 1745, becoming Free of the Goldsmiths Company the following year. The sprawling leaves of the fi nial can be compared to those on the tureens Heming made for the “Coronation Service” of George III in 1761, after being appointed Principal Goldsmith to the new king (Royal Collection). L: 17ins/43.2cms; wt: 4653g. Est: US15,000-25,000. Sold: US$28,125 (Au$27,119).


page 13

Lot 179: A set of four Victorian silver Table Candlesticks.Makers: TJ and N Creswick, Sheffi eld, 1844. The shaped circular bases and baluster stems chased overall with fl oral swags, running foliage and rococo cartouches, conforming detachable nozzles, weighted. Marked on base rims and two nozzles. Ht: 11¼ins/28.5cms. Est: US$4,000-6,000. Sold: US$10,625 (Au$10,247).

Lot 188: Two matching Victorian silver-mounted cut-glass Claret Jugs.John Grinsell & Sons, Birmingham, 1892-3. The silver mounts chased with rococo shells, scrolls and fl owers, the glass bodies cut to match. Marked on collars and covers. Ht: 10⅛ ins/25.7cms. Est: US$2,000-3,000. Sold: US$4,688 (Au$4,522).

Lot 193: An American silver “Japanesque” Water Pitcher.Dominick & Haff, New York, retailed by Howard & Co, 1881. Of rippled pear form, spot-hammered and chased with large sprays of day lilies and chrysanthemum. Marked on base. Ht: 7¾ins/19cms; wt: 858g. Est: US$6,000-8,000. Sold: US$20,000 (Au$19,286).

Lot 194: An American silver Presentation Tray.Tiffany & Co, New York, dated 1940. In Geo III style, oval with reeded rim, engraved “Vincent Astor With the best wishes of his Friends at Twenty-sixth Street...September 27, 1940”, with facsimile signature, surrounded by engravings of New York scenes. Marked on underside. Length over handles: 21⅝ins/54.9cms, wt: 2339g. Est: $3,000-4,000. Sold: US$4,063 (Au$3,917).

Lot 689: A pair of Geo III silver short Table Candlesticks.London, 1760. On square bases with circular wells engraved with a crest under a Duke’s coronet, rising to short stems topped by campana for sconces. Marked on base rims, maker’s mark rubbed; undersides engraved with weights 9-15, 9-4. The crest and coronet are that of the Dukes of Leinster. Ht: 4¼ins/10.8cms; wt: 572g. Est: US$2,500-3,500. Sold: US$11,250 (Au$10,849).

Lot 690: A Geo V silver Inkstand and Portfolio with the Astor Crest.The rectangular inkstand with incurved corners, mounted with two square wells with glass liners, centre crested, with associated silver pen, the rectangular portfolio with silver cover crested to match, the reverse and back cover covered in green leather. Inkstand marked throughout, portfolio marked on cover. Length of inkstand 10ins/25.4cms; portfolio 11½ ins/29.2cms. Wt of inkstand excluding glass: 666g. Est: US$1,000-1,500. Sold: US$4,688 (Au$4,520).

Lot 45: A Painting by John Frederick Lewis (1804-1876).British. A MEMLOOK BEY, EGYPT. Signed and dated JFLewis 1868 lower left. Oil on panel. 14 by 9¾ins/35.5 by 24.7cms. Provenance: The Rt. Hon Joseph Chamberlain (1836-1914); The Rt. Hon Austen Chamberlain KG (1863-1937) (by descent from the above, his father); Colonel Terence Maxwell and Mrs Diane Maxwell, née Chamberlain (by descent from the above, her father, and sold by Colonel Maxwell, Christies, London, 15 June 1973, lot 52, illustrated, as Mameluke, Egypt) Colnaghi’s, London (in 1973). Est: US$300,000-500,000. Sold: US$1,594,500 (Au$1,537.081).

Photos and text courtesy Sotheby’s New York


page 14

Lot 140: A sterling silver Quaich.Maker: Francis Howard Ltd, Sheffi eld 2005. Wt: 154g. Est: $400-600. Sold (inc BP) $660.

Lot 145: A boxed set of sterling silver Gum Leaf design Teaspoons.Maker: Harold Sargison, Hobart. Hammered silver spoons with twisted handles and applied gumleaf motifs, stamped ‘Silver Sargisons’, Hobart c. 1910-1920s. $100-150. Sold: $204.

Lot 149: Georg Jensen Acorn pattern sterling silver Flatware.Designer: Johan Rohde (1856-1935). Comprising twelve soup spoons, ten dessert spoons, twelve table forks, sixteen dessert forks, four pickle forks, one large serving fork, twelve large knives, twelve small knives, eight fi sh knives each piece impressed ‘Georg Jensen Denmark’, 1915 (87). Total wt: 4662g. Est: $10,000-15,000. Sold: $10,200.

Lot 173: A Geo III two-handled sterling silver Tray.Makers: George Smith and Thomas Hayter, London 1801. Oval form on four reeded scroll feet and rim, the reeded handles terminating in foliage, the centre engraved with a coat-of-arms. L: 59cms; width: 39cms; wt: 2560g. Est: $6,000-8,000. Sold: $7,800.

Lot 228: A sterling silver Fiddle Pattern Teaspoon.Maker: Alexander Dick. Engraved with initials probably ‘JML’, (Lion Passant) (Crowned Leopard’s Head), E, Monarch - A. D. L: 14cms; wt: 24g. Literature: Australian Silver, JB Hawkins, item 19, p25. Est: $800-1200. Sold: $660.

Lot 229: A sterling silver fi ddle pattern Soup Ladle.Maker: Alexander Dick. Engraved with initials probably ‘JML’, (Lion Passant) (Crowned Leopard’s Heads), E, Monarch – A. D, c. 1834. L: 36cms; wt: 325g. Labels: Literature: Australian Silver, JB Hawkins, item 19, p25. Est: $4,000-$6,000. Sold: $9,360.

Lot 230: A sterling silver Fiddle Pattern Basting Spoon.Maker: Alexander Dick. Engraved with initials probably ‘JML’, (Lion Passant) (Crowned Leopard’s Head), E, Monarch – A. D, c. 1834. L: 31cms; wt: 150g. Literature: Australian Silver, JB Hawkins, item 19, p25. Est: $3000-5000. Sold: $3,600.

Lot 231: Three sterling silver Fiddle Pattern Tablespoons.Maker: Alexander Dick. Engraved with initials probably ‘JML’, (Lion Passant) (Crowned Leopard’s Head), E, Monarch – A. D, c. 1834. L: 23cms; wt: 273g. Literature: Australian Silver, JB Hawkins, item 19, p25. Est: $6,000-8,000. Sold: $6,950.

Auction ResultsShapiro Auctions,

Sydney23 September 2012

Photos and text courtesy Shapiro Auctions


page 15

1. Something Personal(a) From Betty Smith.“To the Silver Society from the Equal Winner of the brilliant Book Bounty. I would like to thank the Art Gallery of South Australia for donating the Bounty Book. To Christine Erratt who shared fi rst prize with me and allowed me to keep the Book as she already had a copy. And to Patrick for thinking of the puzzle as a competition, which I didn’t think I could ever win. Many thanks to all, Betty Smith”

(b) From Patrick StreetSincere thanks to the Members of the Silver Society of Australia who kindly sent their best wishes on the occasion of my reaching the Psalm 90 age of “threescore years and ten”. It was Phyllis McGinley who wrote on her 70th birthday in 1975:

Seventy is wormwood,Seventy is gall.But it’s better to be seventyThan not alive at all.

One of my friends who attended the ‘cellarbration’ informed me that “70 is the new 60”! But another soberly intoned: “Welcome to the exclusive 70’s Club. Don’t let your membership lapse — it’s hard to get back in!”

Probably this is the age when I take every day as a bonus. I plan to Enjoy life every day. And from all tern lovers: Many Happery terns...

2. Giorgio Busetto, the Secretary of ASCAS (Association of Small Collectors of Antique Silver) has released another two of his informative newsletters with articles and items of interest to silverphiles. 100: See: http://www.ascasonline.org/newsSETTEM100.htmlArticles include:• Spoon warmers, an often incorrectly described object by Christian M. Baur • Before and After on a Tiffany Sterling Plate by Jeffrey HermanA Message from Giorgio Busetto, Secretary ASCAS:“This month ASCAS celebrates its 100th issue. 100 months in which the ASCAS newsletter has reached your mailbox with new information, articles and images dealing with the matter of common interest. A happy occurrence with a great regret: the fl ow of new articles by members continues to be scarce and I fear that soon I’ll be unable to maintain the regular publication of next editions. Once, ASCAS published two articles each month. Now, I’m in great diffi culty to publish one article each month. The number of authors contributing to ASCAS is very small, the “warehouse” of material suitable for publication is emptying and soon I’ll be obliged to present at least one article and one “members’ window” in each monthly edition of the newsletter. ASCAS is not dead and isn’t dying. Some interesting articles and a handful of excellent authors are still available and support ASCAS ensuring the survival in the coming months. Anyway I wish to inform the MANY readers and the FEW authors that without the support of ALL members ASCAS will be soon forced to reduce the frequency of its contacts, publishing the Newsletter, randomly, when suffi cient material will be gathered. Thanks again for your past and future help.”

101: See: http://www.ascasonline.org/newsOTTOB101.html• Apprenticeship and Freedom for the English Goldsmith by David McKinley • Marks of European Silver Plate: XIII. Norblin, Russia/Poland by Dr. David N. Nikogosyan.

In addition to these detailed articles, there are questions, answers, information and plenty of extra items of interest to all collectors of silverware.

3. Perth Mint Issues(a). In 2013, The Perth Mint’s internationally renowned Australian Lunar II Silver Proof Coin Series celebrates the Year of the Snake, the sixth animal in the twelve year cycle of the Chinese zodiac. These superb proof quality releases are perfect for people born in ‘snake’ years.

The birth dates for people ruled by the Chinese Lunar snake include 1905, 1917, 1929, 1941, 1953, 1965, 1977, 1989, 2001 and 2013. Those born under the infl uence of this sign are said to be intelligent, graceful, independent, analytical and charming.

For the fi rst time, and by collector demand, The Perth Mint is also introducing the new format of an individual ½oz silver coin. Each coin is struck by The Perth Mint from 99.9% pure silver in proof quality.

The reverse of each coin depicts a representation of a snake curled around a tree branch. The Chinese character for ‘snake’ and the inscription “Year of the Snake” also appear in the design with The Perth Mint’s traditional ‘P’ mintmark.

Issued as legal tender under the Australian Currency Act 1965, each coin features the Ian Rank-Broadley effi gy of Her Majesty Queen Elizabeth II on its obverse.

No more than 8,000 ½oz coins, 5,000 1oz coins, 500 kilo coins and 1,000 three-coin sets will be released. Each coin and set is accompanied by a numbered Certifi cate of Authenticity and are housed in stylish black and red display cases. Each case is presented in a superbly illustrated shipper.

As well as appealing to silver proof coin collectors, these outstanding releases also make great gifts for people born in any year ruled by the Chinese lunar snake.

Australian Lunar Series II 2013 Year of the Snake: ½oz Silver Proof Coin: Item No 2S1316EAAE. Price: $65.00. Australian Lunar Series II 2013 Year of the Snake: 1 kilo Silver Proof Coin Item No 2S1316AAAA. Price: $1,890.00. For further information visit: http://www.perthmint.com.au/default.aspx

H E RE T H ER E& by p

ds


page 16

(b). Birds of Australia SeriesThis brand new coin program is inspired by the birds that inhabit the continent of Australia. Because of the nation’s island status, many of these species are unique and breathtakingly beautiful.

The coin is struck by The Perth Mint from ½oz of 99.9% silver in proof quality. The coin’s reverse portrays a Red-tailed Black-

Cockatoo in colour perched on a struck wooden log. As well as The Perth Mint’s ‘P’ mintmark, the design also includes representations of Australian vegetation.

The Perth Mint will release no more than 10,000 of these coins. Issued as legal tender under the Australian Currency Act 1965, the coin’s obverse depicts the Ian Rank-Broadley effi gy of Her Majesty Queen Elizabeth II and the 2012 year-date.

The coin is accompanied by a numbered Certifi cate of Authenticity and is housed in a classic display case with a delicately coloured, illustrated shipper.Birds of Australia: Red-tailed Black-Cockatoo 2013:½oz Silver Proof Coin, Item No 13T03AAA. Price: $65.00.Visit: http://www.perthmint.com.au/catalogue/birds-of-australia-red-tailed-black-cockatoo-2013-1oz-silver-proof-coin.aspx

4. Auction Results Sothebys London 27 September 2012Lot 215: A set of four Geo III silver Wine Coasters.Maker: William Plummer, London, 1778. Engraved with crest and motto Fac et Spera, wood base plates. Diam: 12.2cms. Est: £2,500-3,500. Sold (inc BP): £4,375 (Au$6,853).

Lot 214: A Geo II Britannia standard Silver Caster.Maker: David Willaume, London, 1728. Engraved with scratchweight underneath. Provenance: Probably acquired from A. Ross, Farrow (?), 30 November 1967, ‘Georgian Silver Castor’, according to Frederick McCarthy’s stock books. Ht: 19cms/7½ins. Est: £800-1,200. Sold: £938 (Au$1,470).

5. Danish CrownsH.R.H. The Crown Princess, as patron of the Danish Arts and Crafts Association, took part in the opening of the St. Loye exhibition at Designmuseum Danmark on 24 August 2012. In connection with the exhibition, The Crown Princess presented the St. Loye prize of 100,000 Danish crowns to the goldsmith, silversmith or precious metal designer who has shown special abilities and talent within his or her craft. The Copenhagen Goldsmiths Guild awarded the talent prize every year between 1989 and 2007, and it was established to promote new initiatives in an old craft. St. Loye events stretch from 24 August – 30 September 2012. In addition to the prize award ceremony and the big talent exhibition at Designmuseum Danmark, there were 18 other exhibitions around the city’s galleries, workshops and stores, and a seminar with lecturers and writers from here and abroad. With the events, the Copenhagen Goldsmiths Guild hoped to show that good craftsmanship still exists and that it goes hand in hand with innovative design and artistic expression. Loye – also known as Eligius – is the patron saint of goldsmiths, blacksmiths and all metalworkers. He lived during the early Middle Ages in what is now France. Loye was himself a talented goldsmith who later entered the priesthood and became bishop of Noyon-Tournai. —Yvonne Riches

6. Celebrating 25 Years of AchievementThis is an advance Notice of the Silver Society’s Silver Anniversary Celebrations in Sydney next year in May — from Friday 17 May to Monday 20 May 2013. Would members please keep the dates free? We are hoping to have a program of visits and a celebration dinner on the Saturday evening 18 May. A suitable place for accommodation in Sydney CBD is:

Oaks Hyde Park PlazaAddress: 38 College Street, Sydney NSW 2010.

• Reservations 1300 668 831 • Hotel +61 2 9331 6933 • Fax +61 2 9331 6022

—Yvonne Riches

7. Solution to Chris Jolliffe’s Word Search Game.

Edinburgh Makers from 1700-2012

S W J J O R A T Z O M E G N T R G R G A M Y W M E R NN J N A P L N A G A C O N N W N D J D R T O I J R Z TO N R M M C R O B E R T G R A Y A N D S O N L A U Y DS O O E L E U K E R A N D D E M P S T E R N L M D C ND E K S A O S N T J T Y O R E L G I E Z M A I L L I WN A I N D N H K N T J A K S H R S S N I R A A P A M NA H L A O N D S E I I C N R T M J I T H E L M H B Y OL E E S I U A J I R N A R N O R A H E O L R A A I A RL O N M T O O K A H S G T I A J E N E A S M N E H R LA O M Y N T E N O M C L H S C E B B O M I O D T C R GH A T T P Y R I Y O E D W A E H Y E O L A D P K R U AS T M H A A N T E C R S N A M M T A T R A L A N A M DR D G C I M H P R I O B M A N A A O K A K L T H W K UA P O I A A M I N E N L C I Y D N J N C I C R H O C LM A H G N I N N U C K C I R T A P D N A M A I L L I WU M C D R L L A D R O S H N N C K C S W N J C R I R EN J C N T L N N N Z I N A D M N H C U O A D K L T T MG O N O L I J N S D N U I M I C E E A N N O C D R A HO H M D C W L E A L R N S A O W K H L M N R U O C P PY N A R A E G R O R C O T N N H A E I L D I N A N T OO Z L O M Y H O M H P D B D R H T E N L S C N M Y I IR E L G I E Z R E D N A X E L A B D R Z M O I G L E RS I S H L C I S U H E D W A R D L O T H I A N A H W ST G M G O N A H A R R Y B E A T H U N E G E G E S A MO L N U J M W J A M E S D E M P S T E R N N H C M G MU E E H O S A N O D R O G T R E B O R I E R A L C D ON R L L A H S R A M M A I L L I W D N A S E M A J G U


page 17

8. Forthcoming AuctionSotheby’s are holding a sale of Dr. Heller’s Lexicon on 4 December 2012 in London. Amassed over some 50 years by the eminent radiologist and art historian Dr. Istvàn Heller, this scholarly collection of more than 300 pieces presents the work of some 250 masters from the best periods of silver and goldsmithing in Mitteleuropa and surrounding countries from the 1580’s onwards. For example: A German silver-gilt double cup, Balduin Drentwett, Augsburg, circa 1600, 34cm high overall. Estimate: £30,000–50,000 (Au$47,122–78,535). Visit: http://www.sothebys.com/en/auctions/2012/dr-hellers-lexicon/overview.html?cmp=email_L12315_1212_1_SALexample2_event_button

9. Hallmarking the London 2012 Olympic Medals The Goldsmiths’ Company Assay Offi ce UK in August 2011 took on the prestigious task of hallmarking the gold and silver Victory Medals for the London 2012 Olympic and Paralympic Games.

The Assay Offi ce’s hallmarking expertise was put to the test by The Queen’s Assay Master at The Royal Mint in Llantrisant, South Wales, the offi cial manufacturer of the Olympic and Paralympic Medals, where discussions were held as to the type and position of the mark on each medal, and how they should be assessed. The alloy content was evaluated by taking physical samples.

The Royal Mint had the honour of producing 4,700 gold, silver and bronze Victory Medals in total, and the hallmarking process was required for the gold and silver pieces. Gold Olympic medals have not been made from solid gold since the 1912 Olympics, but measuring 85mm in diameter, the London 2012 Medals were the largest and heaviest ever made for a Summer Olympic Games.

There were 22 stages involved in making the medals – including hallmarking – with each one taking about ten hours to produce. The gold medal was hallmarked as .925 silver, and contained a small amount of gold and copper within each medal. It was then plated to guarantee a minimum of 6g of gold, as per the International Olympic Committee’s specifi cation. The silver medal was also hallmarked .925 silver with the remainder of medal made up with copper. The bronze medal was 97% copper, 2.5% zinc and 0.5% tin.

The Superintendent Assayer from the Goldsmiths’ Company, John Love, was the only non-Royal Mint employee to be involved in the Olympic medal-making process, diligently hallmarking the medals over the course of eleven visits to Wales. John commented, ‘Over my 37-year career, I have taken great pride in working for the Goldsmiths’ Company Assay Offi ce and being part of marking the London 2012 Olympic Medals.’

If you would like to see John in action at the Royal Mint, marking the medals go to http://www.thegoldsmiths.co.uk/welcome-to-the-assay-offi ce/news/how-we-hallmarked-the-olympic-medals/ and enter the password: hallmark.

10. For all Sydney Swans fansThe AFL Premiership Coin has been struck for the fi rst time by the Royal Australian Mint from 99.9% silver. Each collectable coin’s legal tender status guarantees its weight and purity. The reverse of the coin features the iconic AFL Premiership Cup and features the name of the 2012 Premiership winning team. The obverse of the coin features an effi gy of Her Majesty Queen Elizabeth II by Ian Rank-Broadley. Only 5,000 collections including the special coin were produced by the Royal Australian Mint and the collection includes: One ounce pure silver dollar coin, Premiership Cup, 2012 replica Premiership Medal, a Certifi cate of Authenticity, an offi cial photograph of the winners and presented in mahogany box. Cost: $295 + $19.95p&h. Contact: https://afl premiershipcollection.com.au/?domain=globalshopdirect.com.au

11. New Book published soon!John Houstone, one of the long-standing and valued members of the Silver Society of Australia has notifi ed us that he will soon be publishing a book titled Early Australian Silver – The Houstone Collection. It covers the period 1820-1900 and contains more than 300 colour photographs of early silver objects. The book has already been printed and will be available to Silver Society members at a special discounted price. More details later.

12. New website for Auction cataloguesFind Lots Online (http://www.fi ndlotsonline.com) is an online service gathering art, antiques & collectables auction catalogues (from Australia & New Zealand only) with a comprehensive search capability.

Kate Green, who manages the website said that “it would be a terrifi c tool for Silver Society members as they can search catalogues for silver, and can drill down and search for specifi c makers using the keyword search.”

If you don’t want to check the site regularly to search new catalogues, you can subscribe to the Lot Alert Service which will automatically check as each catalogue is loaded and send an email notifi cation when an item matches your keyword alert.

Also there are several other great services which are really useful tools, and unique to the site, including:

• A weekly “Plan Your Week” email • Auction-world related news & views

Ability to build your own bespoke viewing catalogue to take to the viewing (especially useful when you’ve read through a 1000+ lot catalogue!)


page 18

Silver Society Word Search Gameby Chris Jolliffe

DUBLIN MAKERS from 1700 - 2012

A G H D M M A M M R I M E P O W P A S E N A NG K R G L I T J A M E S K E A T I N G S O A OS E E H L C O E T T W K A R L S A J E A S W DG I K L W H L W T R T L A A O N N M T T D A ET E L K I A W I H L T H S O C L H O N S N L RC H A R L E S L E S L I E D T D E R S I A M AA I W A L L J L W J W I A W A S O C E N T A AH R S T I W T I W P O E E S W B H L L H S I WA A A T A A W A A J N H I N E A E P I L E L JO H M I M L N M L M O W N R R G L L E E W L AT H O P W S N T S L I S T L A J L K R S R I MN D H N I H O O H S I C E N A N M A E A O W EO O T H L A O W T W A S H P G U D C E R M J ST O R O L D G N T L T D I A H N G R A O W A LL N M J I H O S D O I D WW E W I H O E A L EO C D N A T S E W N A M R E D L A K L G A S BB A A E M A R N D A A T A L M L K L D I E S AS L S N S W S D N A J A L H L S I E K I N R SA L O D O E T I U T N H O J N I N L A E V L SM A L O N W I L L I A M L A W H E M S T R A HO C D D O T I M W E S T A N D S O N S N I A DH W I L L I A M B O N D L I E L W J R A L N KT S E W N A M R E D L A L I O W M L W J T U G

ABELRAM ALDERMANWEST ALDERMANWESTANDCOCHARLESLESLIE CHARLESTOWNSEND DANIELEGANDAVIDKING ISAACDOLIER JAMESKEATINGJAMESLEBASS JOHNHAMILTON JOHNLAUGHLINJOHNPITTAR JOHNTUITE JOSEPHSTOAKERJOSEPHWALKER JRNEILL JRNEILLMATTHEWWALKER MATTHEWWALSH MICHAELKEATINGMICHAELWALSH MWESTANDSONS ROBERTCALDERWOODTHOMASBOLTON THOMASWALKER WEIRANDROGERSWESTANDSON WILLIAMBOND WILLIAMLAWWILLIAMLAW WILLIAMTOWNSEND WILLIAMWILLIAMSON


page 19

Photos and text courtesy Philips Auctions

Auction ResultsPhilips Auctions,

Melbourne 9 September 2012

Lot 196: A suite of four William IV sterling silver Dessert Spoons and Forks.William Bateman II, London, 1830/1. Fiddle pattern, the terminals engraved with an armorial crest. L: 18cm (spoons) and 17cm (forks). Total weight: 365g. Est: $300-400. Sold (inc 18% BP) $354.

Lot 203: A German Art Deco 830 silver Tea Pot.Gottlieb Kurz, Schwäbisch Gmünd, fi rst quarter 20C. Of circular bombé fi rm with a hinged cover, the fi nial and loop handle in rosewood. Ht: 17cm; total wt: 780g. Est: $500-800. Sold: $708.

Lot 205: A Geo IV sterling silver Fish Slice.WK (William Knight II or William King), London, 1826/7. Fiddle pattern, the slightly concave blade of typical shape and pierced with a stylized foliate design. L: 30.5cm; wt: 138g. Est: 150-250. Sold: $201.

Lot 206: An Edwardian sterling silver footed Dish.Charles Fox and Co. Ltd (Charles James Fox), London, 1902/3. In the Rococo manner, the repoussé shaped oval dish with sides pierced between fl oral, foliate, and C-scroll decoration on a spreading foot. Ht: 10cm; width: 26.5cm; depth: 21cm; wt: 366g. Est: $300-500. Sold: $448.

Lot 207: An Austrian silver-mounted fl oral and Guilloche Enamel Box.First half 20C, marked 935 and with two further indistinct marks (rubbed). Of waisted circular form with a hinged cover, the top with a vase overfl owing with fl owers in foil-backed enamel in various colours on the pale lemon guilloche groundHt: 7.5cm; diam: 14.5cm; w: 522g. Est: $800-1200. Sold: $1150.

Lot 211: A Victorian silver-mounted cut crystal Claret Jug.Atkin Brothers, Sheffi eld, 1881/2. The jug of straight-sided spreading form, square-cut and star cut underside, mounted with a silver collar and hinged domed and fi nialed cover, with a shaped and pointed handle and pouring lip, all chased with foliate and fl oral decoration. Ht: 30cm. Est: $1000-1250. Sold: $1180.

Lot 212: An early Victorian sterling silver double-handled Sugar Basin.J. Wrangham and William Moulson, London, 1837/8. Of compressed globular form with a pair of scrolling handles, with fl oral and foliate and C-scroll repousse decoration, the interior gilt. Ht: 10cm; Width: 19cm; wt: 337g. Est: $350-450. Sold: $425.

Newsletter — April 2010Silver Society of Australia Inc

Photos and text courtesy of Christies

FINE & DECORATIVE ARTS ENTRIES INVITED

P H I L I P S

47 GLENFERRIE RD MALVERN

CATALOGUES ON LINEwww.philipsauctions.com.au Email: [email protected]

Telephone: 03 9509 6788

AUCTION SCHEDULE 2008

Fine and Decorative Arts Sunday 14th SeptemberClosing for Entries Thursday 21st August

Fine and Decorative Arts Sunday 26th OctoberClosing for Entries Thursday 2nd October

Fine and Decorative Arts Sunday 7th DecemberClosing for Entries Thursday 13th November

FORTHCOMING AUCTIONS

Fine and Decorative Arts Sunday 21 October 2012Closing for Entries Thursday 27 September 2012

Fine and Decorative Arts Sunday 2 December 2012Closing for Entries Thursday 8 November 2012

P H I L I P SP H I L I P S

SILVER LOTS AT

SILVER LOTS AT

SPECIAL PRIC

ES

SPECIAL PRIC

ES

FINE AND DECORATIVE ARTS

Documents

Newsletter October 2012 - media.virbcdn.commedia.virbcdn.com/files/0e/0c5c33d89db72e2f-Clarke2012b.pdf · Ph 02 9489 5311 Vice-President Dave Mc Manamon [email protected] Ph 0405 429