Notes on the hallmarking of twentieth century South African precious metal artifacts.
Fred van Staden
(Published in the South African Journal of Cultural History, 31(1), 2017)
This paper comprises a review of attempts to
establish hallmarking systems in South Africa during the twentieth century. Specific attention
is paid to the efforts of the South African Bureau of Standards (SABS) and the
short-lived Goldsmiths’ Guild of South Africa to establish hallmarking
guidelines.
In addition, details of more than 70 South
African gold- and silversmith studios or workshops active during the twentieth
century are chronologically tabulated. This includes information such as names
of the goldsmiths and their studios, their maker’s marks and dates when these
marks were in use.
Key words: precious metal
artist, hallmark, goldsmith, silversmith, manufacturing jeweller, maker’s mark,
maker’s stamp, twentieth century South Africa
_____________________________
One of the oldest
forms of marking possessions stems back to 3000 BC in Egypt where domestic
animals were branded with hot irons to identify ownership. This identification
procedure was later extended from marks denoting ownership, to marks that
authenticate the maker or the region from where creative objects (such as
pottery) originated. [1]
Modern forms of
hallmarking emerged from around the 10th century in Europe, with
formal heraldic systems serving as regulated military insignia. The earliest
marks represented town guilds in Europe, and first appeared in France in 1272,
with makers’ marks emerging shortly thereafter in 1378. Systems for marking
precious metal objects sprung up all over Europe and regulations varied from
town to town. Mostly because of trade over the centuries that followed, the
marking systems used in different parts of Britain and the European continent
evolved along similar lines. Already in
1544 in England, a full set of hallmarks consisted of at least four marks,
denoting the precious metal content, the location of the assay office, a date
mark and the maker’s mark. This became law and is presently still enforced.[2] However, until the end of the nineteenth
century, jewellery was often not hallmarked because of its small size and often
delicate form.[3]
Today, compulsory
hallmarking of beneficiated precious metals is practiced in most European
countries. Most countries outside Europe do not make use of hallmarking
schemes, although some have voluntary systems in place.[4]
South African hallmarking
The first attempt at establishing a South African hallmarking system
stems from 1715 when the Governor of the Cape, Maurits Pasques de Chavonnes
founded the Mint of the Cape of Good Hope. Under the new statute all
silversmiths were required to stamp their work with personalised makers’ marks.
They also had to submit all their work to two Masters of the Mint for testing.
If approved, the hallmark of the Mint (consisting of the figure of Good Hope)
as well as the Mint Masters’ mark would be added to the maker’s mark. For
smaller pieces only the Mint Masters’ mark and the maker’s mark were required.
A silver standard was fixed at eleven pennies for five grams. However, this
commendable effort at standardisation fell into disuse soon after the initial
three-year appointment of the Mint Masters came to an end. A follow-up
appointment was not made. There is also no evidence that this ordinance was
ever enforced. Nevertheless, there is some indication that the official ‘Hope’
stamp was still in use in 1780.[5]
It appears that during the 1800s no systematic effort was made to
re-establish a South African hallmarking system. Later, in 1938, 1942 and 1958
the associations representing local jewellers and watchmakers submitted
memoranda to the Minister of Commerce and Industries calling for the
establishment of an assay office[6]
to develop and implement a hallmarking system in the Union of South Africa.[7]
In all three cases their representations fell by the wayside.
At the founding of the Jewellery Council of South Africa in 1972, a
resolution was adopted to devise a compulsory local hallmarking system that
would denote the country, the metal content and a maker’s mark. This was to be
done in collaboration with the South African Bureau of Standards.[8]
This call was again renewed in 1984 when representatives of the Jewellery
Manufacturers’ Association, Intergold and the South African Bureau of Standards
formed yet another committee to investigate the feasibility of implementing a compulsory
local hallmarking system.[9]
Again, the representations were unsuccessful.
Throughout the twentieth century the local use of hallmarking remained
voluntary. It was only in 2011 that the
regulation process became legally formalised with eventual implementation in
2013.[10]
Whereas the South
African texts of Mollie Morrison (1936)[11],
D. Bax (1974)[12]
and Stephan Welz (1976)[13]
contributed much to the documentation of hallmarks used in the early Cape
between the 17th and 19th centuries, no comparable
recording of hallmarking in South Africa during the 20th Century has
as yet been produced. The present research was conducted in an effort to
address aspects of this gap in South African hallmarking history.
Method
This study deals
with organisational efforts to establish voluntary markings systems in South
Africa during the 20th century. It concludes with a tabulated
summary of more than 70 locally used maker’s marks. The table was composed of
information contained in a series of articles covering the work of creative
gold- and silversmiths who worked in South Africa during the early to late 20th
century. [14] The reviews included publications in academic
journals, books and specialist newsletters or magazines such as Artlook
Magazine, The S.A. Jeweller and the Diamond News, The Diamond
News and S.A. Watchmaker and Jeweller as well as government sponsored
national magazines such as Lantern and the South African Panorama. Where
possible, interviews were held with gold- and silversmiths or with their
families or co-workers such as engravers, enamellists and die sinkers. Often, résumé’s,
photo’s, letters and documents were made available. Internet searches and
e-mail exchanges were included in the recording and corroboration process.
The
period from 1980 to 2000 is for the most part not included in this review
because of limitations to manuscript length. In addition, it covers a phase of
significant socio-organisational change and requires a review in its own right.
It is notable that
the majority of goldsmiths mentioned in the consulted literature worked in
Johannesburg and Pretoria. A possible reason for this may be that the
exponential development of the mining sector on the Witwatersrand during the
1950s also attracted more gold- and silversmiths to the area. In addition,
after the Second World War, a number of gold- and silversmiths resigned from
the South African Mint to open their own studios and workshops in Pretoria and
Johannesburg. Also, skilled artisans from the Baltic countries and from Europe who
were encouraged by the South African government to immigrate, tended to settle
on the Witwatersrand. Another distinguishing feature of this sample is that the
gold- and silversmiths whose work was recorded, were noted in national rather
than regional publications. Further exploration of smaller community based publications
may yield more information on creative goldsmiths whose credentials have not
been included in this article.[15]
Although a general
overview the South African Indian goldsmith contributions was presented in an
earlier publication,[16]
their use of maker’s marks have not been recorded in this article. The topic
needs to be pursued in a follow-up article.
The South
African Bureau of Standards certification marks.
In April 1948, at
the request of the Chamber of Mines, the South African Bureau of Standards
(SABS) published in the South African
Government Gazette voluntary hallmark specifications for the marking of
precious metals. They consisted of the letter ‘U’ encircling the head of a
Springbok for articles made of gold, and the head of a lion for articles made
of silver. No mention was made of other precious metals such as platinum or palladium.
It was decided to use the letter U (denoting the Union of South Africa) which
was used on the ammunition manufactured by the South African Mint during the
Second World War, and which gained international recognition as a significant
contribution to the war effort.[17]
The lion and springbok heads were quite detailed and required the skill of
experienced die makers. The punches were sold by the South African Mint who had
an overseeing role in regulating the use of thereof.[18]
Figure 1:
Images of the respective SABS certification Hallmarks in use between 1948 –
1973, 1974-1999, and from 1995 onwards.
(Excerpts from SABS
Bulletin, 4, 7, March 1975, p 172, and SABS Bulletin, 17, 2, June
1998, p 7)
In addition to
these standardisation marks, articles had to bear the grade marking (e.g. stg
or ct), followed by a letter symbol denoting the year of manufacture, along with the gold- or silversmith maker’s
mark. The year mark was standardised by
using a gothic typeface alphabet in lower case, starting with the letter ‘a’
denoting gold and silver products made in 1948 and concluding the cycle with
the letter ‘z’ in 1973. In 1974 a new alphabetic cycle was introduced
consisting of upper case Roman letters, where ‘A’ represented the year
1974, ending with the letter ‘Z’ in
1999. It appears that a third alphabetic cycle was not introduced and the
dating system discontinued.
Figure 2: An
example of the Gothic (1948-1973) on top and Roman (1974-1998) lettering below
used to denote the year in which precious metals were made in South Africa.
(Photo: SABS
Bulletin, 4, 10, June 1975, p 225.)
In 1975, the
realist images of the springbok and lion marks were replaced by a single
stylistic image of a Springbok head encased in an oval form. It was thought that this new mark would give
a more distinct imprint. The mark was also used for products made in platinum.[19]
In 1995, the logo of the SABS (the acronym is imprinted in the top half of an
oblong outline) was introduced as certification mark. It is not clear whether
this mark replaced the old dating system, or whether it was used alongside[20]
the completion of the dating system that would have continued until 1998.
Figure 3: From 2013 all South
African made precious metal goods must contain the ‘ZA’ mark denoting their
South African origins. A long overdue first step in proper hallmarking practice.
(Photo: F. van Staden, Pretoria,
2012)
In 2011 the
Standards division of the SABS published a revised edition of a hallmarking
standard for articles made of precious metals. It consists of the letters ‘ZA’
encased in an oval, denoting South Africa as country of origin. A year mark is not required but it was
recommended that the grade marking content be indicated alongside the ZA mark.
This is then followed by the individual maker’s mark. This recommendation was written
into legislation and finally enacted in 2013 where all South African-made
precious metal products above 1 gram in weight are required to comply with the
specifications. Individual maker’s marks remained optional.[21]
An important next step would be to legislate that the country of origin
will also have to be indicated on imported precious metal artefacts. This would
serve the dual purpose of quality control and improved consumer awareness. Such
import control will go a long way in addressing the perception that ...we become a dumping ground for work
regarded as substandard in more developed markets such as the UK and Europe. [22]
The designation of the
precious metal content was summarised by the SABS in Table 1.[23]
Table 1: The
South African Bureau of Standards specified designation of precious metals.
Where the silver
content consists of 99,9% purity (indicated by the mark 999) the term ‘Fine Silver’
or the letters ‘FS’ may also be used. The abbreviation ‘stg’ could be added to
the mark 925 (indicating a purity of 925/1000 parts). In the case of gold
content exceeding a fineness of 995/1000 is indicated by the mark 24ct. The
words ‘Fine Gold’ could also be added to the markings.[24]
In an
interesting deviation from international markets though, South African jewellery buyers continued to
prefer nine carat gold as opposed to the
preference for 14 carat gold on international markets. [25]
Since its
inception in 1948 until 2012, the SABS certification marking remained
voluntary. Those who registered with the SABS, were required to regularly
submit samples of their work for certification of its precious metal content.
The SABS performed the role of voluntary assay office. [26]
Figure 4: An example of an SABS certified hallmark
used in 1949 on a candelabrum. From top to bottom: Three stamps bearing the
certification mark of a lion’s head within the letter ‘U’, the letters ‘STG’
(sterling silver grade mark) and the gothic date letter ‘B’ indicating 1949 as
the year of marking. Then follows the maker’s mark consisting of a hand holding
a sword and the inscription EXCALIBUR.[27]
Lastly its South African origin is also stamped.
(Images: Ms C. Meyer, Ditsong Museum, Pretoria, 2014.)
It appears that during the 20th century, the SABS
certification system was mostly used on silver flatware and hollowware. Perhaps
because the certification mark system was voluntary and consisted of four
elements, most creative jewellers resorted merely to a maker’s mark and
precious metal indicators.
Portfolio of Mr Arthur
Boddy
According to the research done by Mr Arthur Boddy,[28]
an ardent researcher and student of 20th century South African
silver, the maker’s marks[29]
listed below, can be found on silver and gold ware made by smiths who were
either registered with the SABS or who just made use of their dating mark.
Boddy endeavoured to develop a record of local precious metal maker’s marks and
their owners.[30]
In a series of letters written between 1972 and 1975 he attempted, with
variable success, to gain information on the maker’s marks of local
silversmiths from the SABS, The South African Mint and the Jewellery Council of
South Africa. In one letter, the SA Mint made it clear that such information on
the clients of the Mint was confidential “…
and cannot be transmitted to the public”.[31] This secretive power play attitude was
perhaps also a manifestation of the authoritarian zeitgeist in South Africa at
the time.
In 1974, Boddy remarked on a notable lack of knowledge amongst silver-
and goldsmiths about the SABS hallmarking standard.[32]
This may have been due to a combination of factors that include a lack of
marketing, the voluntary basis of the marking system, as well as not wanting to
submit one’s work to the scrutiny of an assay office because of extra
administrative demands or because the required silver or gold content was not
met.
The information below provides an initial knowledge base for the
recognition and identification of locally-made silver in the mid twentieth
century. In 1972[33]
the following businesses were permit holders for the making of sterling silver
articles under the SABS mark:
A&M Cohen, Manufacturing Jewellers and Diamond Mounters, 95 Mooi street, Johannesburg. No maker’s mark has yet been determined.[34]
La Scala, Manufacturing jewellers (Pty) Ltd, Cennewa House, 12th
floor, West Street, Durban.
This manufacturer
created hollow and flatware such as silver tea services along with jewellery.
They used the name ‘La Scala’ as their maker’s mark.[35]
Em-Ess Silverware (Pty) Ltd, Isando, East Rand.
Described in 1975
as the largest producer of silver plate and sterling silver, this manufacturer
produced jewellery (such as rings) along with flat- and hollow ware such as
candlesticks, salvers, candle snuffers, meat covers and letter openers. They
made use of the following marks; a springbuck head, the marks S925 (denoting
sterling silver) and the letters S and a date letter (‘S’ denoting the retailer
Spilhaus and a date letter stemming from the SABS system).[36]
In 1948 Mr Julius
Martin bought the original business, then known as Henry Joseph & Sons
(Pty.), from its original owners, who were Birmingham immigrants. Shortly
thereafter, his son Leslie Martin joined him and by the late 1960s the company
was already established as the largest manufacturer of silverplate in South
Africa. Their initial range of products focused extensively on sporting
trophies in silver plate as well as sterling silver and gold plate. Other
products included pewter beer mugs, silverplated hollowware that included tea
and coffee services, soup tureens, water pitchers, serving trays, butter dishes
and sugar basins in distinctive style. They also produced insulated tea and
coffee sets in stainless chrome. During this time, their exhibitions at the
Rand Easter Show regularly earned them gold medal awards. The company had a
tool room where most of the dies and component parts required for the
manufacture of their products were created. In 1967, the quality of its
products was described as equal to the best contemporary silverware available
on the international market. The mark Em-Ess was used on the trophies, silver
plated hollowware and pewter ware. [37]
A notable
commission was the creation of 250 pairs of sterling silver goblets to mark the
25th anniversary of Diners’ Club International. The Diners’ Club emblem in addition to the
SABS marking system was used on the goblets. A set number was stamped below the
SABS standardization marks. The first two pairs of goblets were presented to
the Africana Museum in Johannesburg as well as to the Director of the SABS in
1975. The goblets were designed by Mr T. Cavalho and were estimated to be worth
around R300 at the time.[38]
The South African Mint, Pretoria (now relocated in Centurion).
From 1948 the South
African Mint was registered with the SABS as a hallmark permit holder. They
made use of the acronym SAM as maker’s mark.[39]
E. Tiessen (Pty) Ltd, Manufacturing Jewellers, 14 Juta Street,
Braamfontein, Johannesburg.
They manufactured
small articles such as silver chains, identity bracelets and sometimes other
articles of jewellery such as cuff links. The maker’s mark ET+ was used.[40]
Norman Watson, Engraver and Manufacturing Jeweller (Pty) Ltd, 16
Fenton Road, Durban Central.
This engraver and
manufacturing jeweller made use of the following marks. Firstly, their
registered trade mark ‘Dick King’, the ‘stg.’ abreviation, then the SABS mark
of a lion’s head, and lastly the SABS year mark.[41]
Natal Wholesale Manufacturing Jewellers (Pty) Ltd, Durban.
Natal Wholesale
Manufacturing Jewellers was born in 1988 from the amalgamation of Durban
Manufacturing Jewellers (established in the late 1940s) and Natal Wholesale
Jewellers. In 1998 their production range consisted of rings, charms earrings
and pendants. A small amount of hand crafted jewellery was also made. Apart
from sterling silver, around 133kg of 9 carat gold alloy was used per year in
the late 1990s. They made use of the
SABS precious metals marking system.[42]
Joe Malamed (Pty) Ltd from Cape Town is also mentioned as making use of the
standardization marks of the SABS.[43]
Other marks recorded in the Boddy portfolio include:
R & G Metal Art (Pty) Ltd, 68 New Market street, Foreshore, Cape
Town.
Owner Radoslav Kirov was born in 1955 in Bulgaria where he was trained
as a coppersmith. Apart from copper, steel and wood, he also produced hollow
and flat silverware. He specialised in spun and spot hammered ware. He retailed
his work through Spilhaus but also undertook private commissions. Although he
was not registered with the SABS he made use of its date letters. His hallmarks
consisted of the letter ‘K’ (for Kirov), the sterling silver grade mark S925,
the inscription ‘Spilhaus’ (for wares that were sold through this retailer) as
well as the date letter according to the SABS convention.
Don Sheasby and Lorna Quinton, Cape Town.
This husband and wife team make use of the marks ‘Sheasby’ and
‘Quinton’ along with the marks ‘silver’ and 925. He is described as an artist
craftsman whereas his wife specialised in the cutting and polishing of
semi-precious stones. Sheasby is one of only a handful restorers of silver in
the country. One reviewer described him as having “… an instinctive feel for his work and relates in an almost mystical
way with the original craftsman.” [44]
Silvercraft, Cape Town.
Harold H. Felstein in partnership with Thomas McQuillan established
this firm in 1953. They produced the new mace for parliament in 1961 which was
reputed to be the largest piece of wrought gold at the time in the country.
Thomas McQuillan used the letters MCQ on his work.[45]
South African Goldware,
(Johannesburg)
This firm used the letter SAG followed by the imprint of a protea (or
similar flower) as maker’s mark. It was active during the 1950s and the 1960s
and made the christening mug of Mr Boddy’s son. Items by this firm regularly
appears on local antique and collectors’ markets.[46]
The Goldsmiths Guild of South
Africa
For a brief moment during the mid-1970s, a number of local goldsmiths
came together to create a better structured environment to work in. They formed
the Goldsmiths Guild of South Africa. It was a time of hope and enthusiasm, but
it did not last long. Even though all of
the founder members enjoyed national recognition for their work, their
technical and creative brilliance was not strong enough to withstand the forces
that were working against them. Within a decade their dream of a better future
fell apart.
Late in 1973, under Peter Cullman’s leadership, the Goldsmiths Guild of
South Africa was born in Johannesburg. Other founding members were Dieter Dill,
Ewald Kratz, Liz Bezuidenhout-Kratz, Erich Frey, Kurt Donau, Jochen Kessel,
along with Hartmut and Ilse Jäger.[47]
All, except for Liz Kratz (who was a South African and educated in Stellenbosch), were immigrants from
Switzerland or Germany. They were extensively trained and highly skilled precious
metal artists with master’s degrees in design and goldsmithing along with
qualifications in gemmology. The majority received their training at Pforzheim
in Germany.
Figure 5: Some of the founder
members of the Goldsmiths Guild of South Africa. From left to right: Peter Cullman, Hartmut & Ilse Jäger, Kurt
Donau, Liz & Ewald Kratz and Jochen Kessel
(Photo: H. Jäger, Australia,
1973)
A three-page constitution was adopted at the founding meeting of the
Guild. Their aim was to produce and promote high-quality jewellery as an art
form and to hold nationwide and international exhibitions. Another lofty ideal was to raise public
awareness of original South African designed gold and silver jewellery. The
Guild was to meet from time to time to assess the implementation of its aims as
well as to share information on new designs and techniques in experimental
jewellery making (including the use of facetted gemstones, mineral specimens
and enamelling).
Figure 6: Logo created by the Goldsmiths Guild of South Africa
(Photo: P. Cullman, Canada, 1974)
The Guild created a logo (a smith’s anvil in combination with a stylised
ring) that members were requested to stamp on their work in conjunction with
their own makers’ marks as well as the caratage of the piece. After earlier
attempts to establish a South African hallmarking system was abandoned in the
late 1700s, talks were only held again from 1938 onwards to establish a proper
register, but no final agreement materialised amongst the members of the South
African Jewellers’ Association at the time. The directive of the Goldsmiths
Guild to its members to produce works with their own marks and Guild’s stamp of
approval constituted the first real attempt to reintroduce a local standardised
hallmarking system again. In an effort to differentiate their work from
manufacturers who made use of mass-produced techniques, the Guild’s constitution
specifically stipulated that
“No jewellery of repetitive or ordinary nature may bear the logo
stamp of the Guild.” [48]
Membership of the Goldsmiths Guild was optional and recommendations made
by the Guild were not binding on the local goldsmith community. From the onset
the Guild was represented at the Jewellery Council of South Africa.[49] Nevertheless, the proper organisation of the
industry as a whole (which included the field of gemmology) remained open-ended
throughout the twentieth century.[50]
At an Intergold jewellery competition held by the
Chamber of Mines in 1974, members of the Goldsmiths Guild received ten awards,
including three first prizes along with the most outstanding design in gold. In
1975, two years after the formation of the Guild, the members arranged their
first group exhibition in Johannesburg consisting of 120 pieces in precious
metals. The exhibition proved to be such a success that in November of the same
year a follow-up exhibition was held in Stellenbosch.[51] A number of other
exhibitions were also held by twinning haute couture with artist jewellery.
This was followed by a number of local exhibitions. In 1979 the Guild even
opened a short-lived Goldsmith Gallery in Rosebank, Johannesburg where they
intended to feature permanent exhibitions by South Africa’s foremost
goldsmiths.[52]
Figure 7: Intergold 1974 Grand Prix winning entry
consisting of a combination neckpiece, brooch and a buckle by Goldsmith Guild
members Liz and Ewald Kratz
(Photo: From the Kratz résumé, Brisbane, Australia)
Given the individual and unique design of every piece they made, these
goldsmiths are artists in their own
right. Precious metals became the sculptural basis with which they combined
texture, relief, line and colour to create jewellery of high quality. Precious
stones were integrated in their designs to punctuate or emphasise aspects of
their compositions. With youthful boldness, this generation of goldsmiths also
expanded their palette of design materials to include organic elements such as
wood and ivory. In some cases, copper and perspex were also used. They also
celebrated the abundance of South African semi-precious stones by absorbing
these into their work. The imaginative captivation of unique colour tones
inherent in stones such as tiger eyes, amethysts, agates, rose-quartz and jade
in their creations gave way to an increasing acceptance of semi-precious stones
as part of leading jewellery design in South Africa.[53]
Some goldsmiths used their well-developed technical skills to
collaborate with local painters and sculptors in giving expression to jewellery
sets, hollowware and flatware. For example, Kurt Donau collaborated with Cecil
Skotnes, Edoardo Villa and Hannes Hars on a number of occasions.[54]
In 2012 a pair of cuff links designed by Cecil Skotnes and made by Kurt Donau,
was auctioned for R9 500 by Stephan Welz & Co. in Johannesburg. In another
collaboration, Erich Frey worked with Walter Batiss and Alexis Preller in
creating jewellery pieces and medallions. Frey’s legacy is also gaining
increasing attention at auction. In February 2012, at the Strauss & Co.
auction in Cape Town, a collection of Erich Frey jewellery containing bangles
infused with elephant hair were sold well above the auctioneers’ estimates.[55]
However, the conditions in which the Guild did its work conspired
against its successful growth. Chief amongst these was an unresponsive and
largely indifferent government that looked upon the profession with suspicion.
More often than not, local goldsmiths were regarded as potential illicit
traders of raw precious metals. Consequently, little was done officially to
nurture and develop an organised community of resident gold- and silversmiths.
Political instability caused by the policy of separate development along
with the Job Reservations Act further compounded the problem of rooting an
indigenously sound and prosperous goldsmiths association. Whereas little formal
training and job opportunities for black South Africans existed in the sector
during the 1970s, white goldsmiths had to deal with increasing international
sanctions that made exposure of their work very difficult, resulting in having
to work in a small local market.
Within a few years of its formation, the Goldsmiths Guild began to
neglect the mandate contained in its constitution internally. Already in the
early 1980s their group exhibitions began to dry up and some members failed to
implement the recommended hallmarking system. During the late 1970s members of
the Guild began to emigrate to other countries, especially after the Soweto
riots in 1976. Over the years that followed, all of the founding members of the
Goldsmiths Guild of South Africa took their considerable skills to settle
elsewhere. Apart from political instability, a sharp increase in theft and
violent crime compelled most to emigrate from South Africa. Peter Cullman
relocated to Toronto while Erich Frey and Dieter Dill returned to Germany. Kurt
Donau resettled in his native Switzerland and Jochen Kessel went to London but
returned to South Africa at a later date again. Ewald and Liz Kratz as well as
Hartmut and Ilse Jäger emigrated to Australia.[56]
By the late 1980s membership numbers dropped to such an extent that the
Guild was no longer a viable association.
The formation of the Goldsmiths Guild of South Africa represents a
notable effort to create an organisational platform for the advancement of
high-quality local jewellery. Unfortunately, owing to the constraints at the
time, it was destined to be only a momentary flash in the pan of our local
jewellery-making history.
Hallmarking and recording of
signifiers
In response to the on-going call by purchasers and collectors for the
recording of creative silver- and goldsmith insignia or makers’ marks,[57]
an initial listing of local makers’ marks used during the twentieth century was
compiled and is shown in the table below. It should be noted that the list is
not conclusive and only serves as an initial record of noted gold- and
silversmiths who used a maker’s mark. In keeping with the listings of Western
hallmarks,[58]
the emphasis is placed on the name of the silver- or goldsmith, the name of the
studio or workshop where he/she worked, a description of the maker’s mark(s),
the dates during which the mark was used and the city where the studio or
workshop was located.
Table 2: Chronological summary
of makers’ marks by some noted silver- and goldsmiths working in South Africa
during the early to late twentieth century.[59]
Workshop or studio
|
Format of maker’s mark
|
Years in use
|
Place
|
|
H Wade
|
Henry Wade Watchmakers and Jewellers
|
The words H Wade, Maritzberg.
|
1884–1933
|
Pietermaritzburg
|
A Sidersky (snr.)
M Sidersky
A Sidersky (jnr.)
|
A Siderski & Son
|
The surname Sidersky
|
1902-1938
1928-2006
1959-2006
|
Johannesburg
|
Large numbers of die sinkers, engravers, jewellers and medal makers.
|
South African Mint
|
Royal Mint of
Pretoria mark
SAM
SABS marking
specifications with SAM as maker’s mark
|
1923-1932
Early 1940s - 1947
1948 – present
|
Pretoria (1923-1991), Centurion (1992 –present )
|
J Friedman
H Fervier
|
Friedman Jewellers
Friedman Jewellers
|
The name Jack Friedman.
Continued with
the name Jack
Friedman.
|
1933–1995
1995 to date
|
Johannesburg
Johannesburg & Cape Town
|
K Jobst
|
The Jobst Shop
|
Outline of a unicorn. Sometimes his surname Jobst was added to the mark or the letters Jk with the
vertical lines of the letters blended into one line.
|
1935-1971
|
Johannesburg
|
Makr’s marks in useE Wongtschowski
|
Undetermined
|
Mirror image of a rounded letter e of which the top leg extends
above a rounded letter w. The mirror image creates the impression of a
w followed by a b.
|
1938-1946
1947-1949
1950–late 1970s
|
Johannesburg
Cape Town
Johannesburg
|
Mssrs J & L Martin
|
Henry Joseph & Sons (Pty.) Ltd.
Later Em-Ess Silverplate
|
SABS marking specifications with the letter S
The name Em-Ess was used on silver and pewter hollowware.
|
1940s – possibly late 1960s
Only reference: Early-mid-1970s
|
Isando, East Rand
|
F Vetter[61]
|
F V Jewellers
|
A stylised
capital letter
F nestled in (but not
touching) a larger stylised capital letter V.
|
1947–late 1960s
|
Jeppe Street, Johannesburg
|
G Calafato & B Campbell
G Calafato
Mr & Mrs Dique
|
Metal Art Creations (1947-1951)
Metal Art
(1951-1953)
Precise Die Makers and Engravers (Pty) Ltd
(1953-1968)
Joe Calafato (Pty) Ltd
(1968-1984)
Joe Calafato (Pty) Ltd
(1984 to date)
|
The name CAndidA with STER SILV.
The name CANDIDA with STER SILV. Sometimes also S.AFRICA.
The name Carina with STER-SIL or SILVERPLATED
and sometimes S.AFRICA
or SOUTH AFRICA.
The name Velia with STER-SIL or SILVERPLATED
or GENUINE
COPPER and sometimes S.AFRICA or SOUTH AFRICA.
The words DAWU, COPPER and SOUTH AFRICA.
Shield outline
containing the letters JC and Copper
when applicable.
The name JOE CALAFATO. On badges and
pins BOX 1457 PRETORIA was added.
|
1947-1951
1947-1972
(Limited use after 1972 to 1984)
1972-1984
1972-1984
1972-1984
1972-1984
1972-1984
1984to date
|
Pretoria
Pretoria
Pretoria
Pretoria
Pretoria
Pretoria
Pretoria
Ga-Rankuwa and then Ekandustria.
|
M Richardson
|
Undetermined
|
M and R, with the legs of the letters merged
and the M slightly uppercase in relation to the R.
|
Late 1940s–early 1970s
|
Johannesburg
|
B Haglund
H Blum
M Waizenecker
G Foden
M van Tonder
|
Haglund Jewellers
|
HAGLUND, SOUTH AFRICA and STERLING SILVER (capital bold font). Sometimes Hand made or a date was added.
Stylised pair of jewellery pliers (may also be mistaken as Springbok
horns)
|
1948–1952
1953–1986
1953-1996
1973–2007
1981–2003
1955-1985
|
Johannesburg
Johannesburg
|
G Foden
|
Foden Manufacturing Pty (Ltd)
|
Impression of a giraffe.
|
2006 to date
|
Johannesburg
|
Large number of artisans[62]
H Ocker,
B de Lange &
Mr Rupel
M McNorton
Mr & Mrs A Dique and
Mr J Erasmus
|
Metal Art
|
The inscription METAL
ART POSBUS 1483 BOX PRETORIA.
|
1951-1953
1953–late
1970s
Late 1970s-1998
1998 to date
|
Pretoria
|
T Keder
|
T Keder
|
The letters TK
|
1952-2005
|
Cape Town
|
A Oboler
L & M Oboler
|
A Oboler Manufacturing Jewellery
|
The name Oblo
|
1952-1998
|
Cape Town
|
B Miller
M Miller
|
B Miller & Co.
|
The letters bm
|
1952- present
|
Cape Town
|
G Xanthides
M Xanthides
B Xanthides
|
George Xanthides
Jewellery
|
The letters GX.
The letters MX.
The letters GX.
|
1953 to date
1981 to date
1981 to date
|
Pretoria
|
Undetermined
|
Undetermined
|
The words Riviera,
st. silv. and a regd. mark.
|
Around 1953
|
Not known
|
H. Felstein & C. McQuillan
|
Silvercraft
|
The letters MCQ
|
1953-undetermined
|
Cape Town
|
Not known
|
South African Goldware
|
The letters SAG followed by
imprint of a protea (or similar flower)
|
1950s and 1960s
|
Johannesburg
|
J Joubert
N Dreyer &
Mr Stanford
|
Simba
|
The words AFRICA, Simba and Handmade imprint. Later on only Simba was used, and sometimes REGD was added.
|
1954–early 1980s
|
Pretoria
|
J Malamed
|
J Malamed Jewellers
|
The name JAYEM
|
1955-1995
|
Cape Town
|
E Luther
R Erasmus
|
Mari-Lou Jewellers
|
The name MARI-LOU along with STER-SILV.
|
Late 1950s–early 1970s
|
Pretoria
|
E de Wet
|
Worked from home
|
Mostly unmarked. Sometimes a waterwheel containing 8 spikes.
|
1956–2011
|
Johannesburg
|
M Pagliari
R Regasto & T Pagliary
|
Pagliari (Pty) Ltd, The Cape
Mint (Pty) Ltd, Sports Medallions (Pty) Ltd, Gia Jewellery CC and Cape Silver
(Pty) Ltd
|
Any of the following marks: PAGLIARY,
CAPE MINT, CAPE SILVER, CM, CS and K.
|
1957–2001
2001 to date
|
Cape Town
|
Commissioning body:
National Parks Board
|
Various workshop contributions
|
The words WILDTUIN
KRUGER PARK, sometimes REGD was added. Some only state KRUGER PARK.
A circle (1 cm in diameter), where KRUGER was stamped across the middle of the circle with a rounded
WILDTUIN on the top and PARK on the bottom.
Marks for other national parks such as ADDO PARK were also used.
|
Mid-1950s–mid-1970s
|
Pretoria
|
T Sasseen
|
Produced from home
|
The letters TMS
The letters TS
|
Mid-1950s – early 1980s
Mid-1980s to date
|
Pretoria
|
Mrre Baroda
|
Baroda Brothers
|
The letters BB as well as bb
|
1958-mid 1980’s
|
Cape Town
|
E Frey
S Colegate and R Hacquebord
R Hacquebord (and M. Pitol 1988-1991)
K & N Coetzee
|
Erich Frey Master Goldsmith Pty (Ltd)
Erich Frey Gold and Silversmiths
|
The letters e and f below the imprint of a hand.
The name EFREY as well as efrey.
The name efrey.
Continued with the name efrey.
Continued with the name efrey.
|
1961
1964-1977
1977-1987
1988-1999
1999 to date
|
Pretoria
Pretoria
Pretoria
Pretoria
Pretoria
|
M Holm
|
Works from home
|
An encircled cross with its points
protruding beyond the circle (4 mm x 4 mm).
Smaller version of the above design
(1,5 mm x 1,5 mm).
The same smaller version of the above design
where a quarter of the circle spanning one of the quadrants is missing.
Return to the original design
|
1962-mid-1980s
Mid-1980s-1999
1999 - 2014
2014 - present
|
From 1961 to date at various locations around Pretoria and
Hartebeespoort, except for Franschoek from 1973-1975.
|
A Pass
|
Abe Pass
|
His name Abe
Pass.
|
1963- 2012
|
Cape Town
|
S Forman
D Forman
|
The House of Sid Forman
|
A diamond (or rhombus) outline within which the letters S and F appear.
The letters S and F encircled by the outline of a
heart.
|
1963-present
2002-present
|
Johannesburg
Johannesburg
|
F Huppertz
|
Franz Huppertz Jewellers
|
The letters FH
The name Franz Huppertz
|
1964-1997
Mid 1980s - 1997
|
Cape Town
|
G Potash
|
Potash Jewellers
|
The letters Pop
|
1965- late 1980s
|
Cape Town
|
Isack Kurgan
Icky Kurgan
|
I Kurgan & Co.
Galaxy Jewellers
|
The letters IK
|
1965-1995
1995-present
|
Cape Town
Cape Town
|
P Cullman
|
Peter Cullman Jewellers
|
C encased in a
rectangle.
Outline of a stylised ring on which two disks and a trapezium are
mounted. Sometimes CULLMAN was
added to the ring mark.
Continued using the stylised ring and his surname. Sometimes only Cullman was used.
|
1967-1973
1973-1977
1978-2003
|
Johannesburg
Johannesburg
Toronto
|
HF Gattichi
|
Prestige Jewellers
|
The letter P.
|
1967-1999
|
Pretoria
|
U Koetter
J Louw
|
Uwe Koetter Jewellers
|
U and K where the
right leg of the U is merged with the vertical leg of the K.
|
1968-present
1980-present
|
Cape Town
|
T Fleischer
|
Studio in Broederstroom
|
Copper work is marked with a flower pattern underscored by FLEISCHER in a half circle. Silver
work is marked with KUNSTGEWERBE
FLEISCHER arranged in a circle around the outline of a bird. Underneath,
the abbreviations HAN. ARB appear.
|
1968-present
|
Broederstroom
|
D Lipman
C Horowitz
G Miller
|
Goldring
Goldmaster
|
Stylized square G
|
1968-1974
1975-2009
|
Cape Town
Cape Town
|
K Donau
|
Kurt Donau Jewellery
|
The letters k and d.
|
1969–2008
2008-present
|
Johannesburg
Chur, Switzerland
|
D Steglich
|
D. Steglich Gold- and Silversmith
|
Image of a sickle moon and
letters d s.
|
1969–2006
|
Pretoria
|
D Sheasby & L Quinton
|
Sheasby Quinton silver
|
The names Sheasby and Quinton along with the marks silver
and 925
|
1970-present
|
Cape Town
|
M Cope
|
Mike Cope
|
Capital letter M encircled
by a C that is joined to the right
bottom leg of the M.
|
1972-present
|
Cape Town
|
A & M Cohen
|
A&M Cohen
|
SABS marking specifications. Maker’s mark not determined yet.
|
Only reference: Early 1970s
|
Johannesburg
|
Undetermined
|
La Scala
|
SABS marking specifications with La Scala as maker’s mark.
|
Only reference: Early 1970s
|
Durban
|
E. Tiessen
|
E. Tiessen
|
SABS marking specifications with ET+ as maker’s mark.
|
Only reference: Early 1970s
|
Johannesburg
|
N Watson
|
Norman Watson
|
SABS marking specifications with Dick King as maker’s mark.
|
Only reference: Early 1970s
|
Durban
|
R Kirov
|
R&G Metal Art
|
The marks K , S925, Spilhaus and the SABS date letter.
|
Only reference: Early 1970s
|
Cape Town
|
Undetermined
|
Undetermined
|
The letters WWL.
|
1970s
|
Not known
|
Undetermined
|
Undetermined
|
The letters PJ.
|
1970s
|
Not known
|
WZ Ungar
|
Undetermined
|
The word Zeeta.
|
1970s-early 1980s(?)
|
Not known
|
M Oboler
|
Oblo Jewellers
|
The word Oblo.
|
1970s-early 1980s(?)
|
Cape Town
|
E and L Kratz
|
Studio K
|
The name Studio K or the letters E and K superimposed
on each other.
A third mark still in use at present consists of two overlapping 90˚
triangles giving the impression of a bow tie.
|
1974–1986
1986–1997
1997 to date
|
Johannesburg
Pforzheim, Germany
Brisbane, Australia
|
G Traest
|
Undetermined
|
Made use of guyRS as acronym as well as two stylistic
letters G where the second letter is turned around to become the
mirror image of the first.
|
1974–late 1980s(?)
|
Johannesburg
|
A Zimmerman
|
Zimmerman Studio
|
The letters AZ
|
1975-1990
|
Cape Town
|
Not known
|
Lentin & solway
|
L III, L IV, L V etc.
|
1975-Late 1980s
|
Cape Town
|
F Hirner
|
Frans Hirner
|
The letters fh
|
1975-undetermined
|
Cape Town
|
H Köhler
|
KöHLER
|
Stylized infinity symbol
|
1975-1998
|
Cape Town
|
D Jacobs
D Jacobs &
G Nel
D Jacobs
|
Stellenbosch Manufacturing Jewellers
Goldart
Daniel Jacobs Jewellery Design
|
The letters SMJ.
The
letters DAJ.
Abstracted form of the letters G
and A was used where the larger
right-leaning G is fused to a smaller left-leaning A.
A stylised butterfly with four segmented wings.
|
1980-1989
1980-1994
1989–1994
1994 to date
|
Stellenbosch
Stellenbosch
Stellenbosch
Stellenbosch
|
T Beyers
|
Works from home
|
The letters t and b. Upright legs of the t and b are
fused.
|
Late 1980s to date
|
Pretoria
|
Prins & Prins
Dr P Prins
|
Aurum Art Atelier
|
P&P
|
1982-present
|
Present
|
L Friedlander
|
Lilly Friedlander Goldsmith
|
Encircled L
|
1983-present
|
Stellenbosch
|
P Winhall &
D Holmes
|
Winhall and Holmes
|
The letters W+H
|
1983-1999
|
Cape Town
|
D Peters
|
7 Guys Jewellery
|
7G
|
1985-1988
|
Cape Town
|
E Benson
|
CONTI Jewellers
|
Conti
|
1985-1995
|
Cape Town
|
A & C Goodman
|
Olga Jewellery Design Studio
|
Stylized name Olga
|
1988-present
|
Cape Town
|
S Colegate
|
Stephen Colegate Jewellers
|
The letters s and c.
|
1988-present
|
1988-1997: Pretoria
1997 to date:
Knysna
|
Undetermined
|
Natal Wholesale Manufacturing Jewellers
|
SABS marking specifications. Maker’s mark not yet determined.
|
1988-late 1990s
|
Durban
|
M Nunes
|
Raffaele D’Amato Jewellers
|
A zigzag pattern contained within a tubular or capsule outline.
|
1988-present
|
George
|
D Balding
|
D Balding Manufacturing Jewellers
|
The letters db
|
1990-present
|
Cape Town
|
P Gilson
|
JPPE Manufacturing Jewellers
|
The letters jppe
|
1990-present
|
Cape Town
|
C Greig
|
D Balding and other workshops
|
Outline of Table Mountain
|
1990-1998
|
Cape Town
|
P Gilder
|
Various workshops
|
The letters PG
|
1990-present
|
Cape Town
|
D Evans
|
AUGENTA
|
1992-present
|
Stellenbosch
|
|
M Pitol
|
Works from home
|
The letters M, V and P encircled by an oval ring.
The letters M and P are vertically joined with the letter V superimposed on
them.
|
1995-present
|
Pretoria: 1995-1999
Knysna: 1999 to date
|
Concluding remark
As a concluding observation, there are also those manufacturers and
artist jewellery makers who did not mark their creations, for whatever reason.
This creates a legacy problem, since their work cannot be catalogued or defined
with any certainty, except for perhaps design features that could be tied to a
specific artist jeweller. Sadly this heritage is bound to disappear into an
amorphous world without a history. In addition, creative silver and goldsmiths
are often confronted with having to melt up the creations of (earlier)
colleagues. This presents the dilemma of a continued withering down of our
identifiable precious metal heritage. Perhaps it is naïve to expect jewellers
to refer such items to antique and collectible dealers for resale. Perhaps the
collectible market is too small and not being cultivated either. Nevertheless,
as a country we are the poorer for not making a more concerted effort to
conserve and appreciate these beautiful and joyful expressions of our heritage.
[1] A. George, Constructing Intellectual
Property, (Cambridge, 2012), pp 281-294.
[2] A. Truman, Sotheby’s Concise
Encyclopedia of Silver, 1996, (Conran Octopus Limited, 1996), pp 194-195.
See also, see D. McKinley, “The Goldsmiths’ Company of London’s sterling
standard”, Association of Small Collectors of Antique Silver, article
nr.186, August 2014, http://www.ascasonline.org/articoloSETTE186.html, accessed on 01 September 2014. See also,
J. Bace, Collecting Silver, (Miller’s, London, 1999), p 46. See also, P.
Prins, Gems and Jewellery, The South African Handbook, (Isikhova, Johannesburg,
2009), p 216.
[3] C. Phillips, Jewels and jewellery, (V&A
Publications, London, 2000), p 142.
[4] C. Blair, The History of Silver, (Little
Brown & Co, London, 2000), pp 234-240.
[5] Anon, “The silversmiths of the old Cape:
Hall-marking scheme introduced in 1715”, The
Diamond News and the S.A. Watchmaker and Jeweller, December 1950, pp 51-54.
See also, J. Ambrose Brown, South African
Art, (Macdonald, Cape Town, 1978), p 50. See also, D. Wemyss, “Bounty of
Silver, Collecting old silver can be a rewarding and interesting hobby”, South African Garden & Home, December
1992, p 18.
[6] An assay office is responsible for testing
the metal content of precious metal products. All approved items are then
certified with a hallmark stamp. Anon, “Assays – what happens”, Diamond News and S.A. Jeweller, December
1984, p 6.
[7] Anon, “Urgent need for government hall-mark system”, The Diamond News and the
S.A.Watchmaker and Jeweller, August
1942, pp 30-31. See also, anon, “More jewellery marking worries”, The Diamond News and the S.A. Jeweller,
November 1958, p 32, as well as anon, “Proposed marking up of all jewellery”, The Diamond News and the S.A. Jeweller,
September 1958, p 5.
[8] L. Dellatola, “Jewellery Council”, South African Panorama, 18, 12, 1973,
p4.
[9] J. Hobbs, “SA hallmarking – one step
nearer”, Diamond News and S.A. Jeweller, December
1984, pp 3, 6 & 32.
[10] National Gazette no 34233, 29 April 2011,
vol 550, p 17 based on the SABS’ South African National Standards (SANS) 29
version 4, section 6.2.2. See also, Anon, ZA stamp compulsory for all locally
produced products, SA Jewellery News, March 2013, p 8, as well as L.
Loyd, “SA stamp compulsory for all locally produced products”, SA Jewellery-biz News, 2013, week 07,
p1.
[11] M.N. Morrison, The silversmiths and
goldsmiths of the Cape of Good Hope, 1652-1850, (Johannesburg), 1936.
[12] D. Bax, Het oudste Kaapse Silver
1669-1751, (Noord Hollandsche Uitgevers Maatschappij, Amsterdam/London),
1974.
[13] S. Welz, Cape Silver and Silversmiths, (AA
Balkema uitgevers, Cape Town/Rotterdam), 1976.
[14] The following texts containing summaries of
the legacies of noted gold- and silversmiths who worked in South Africa between
1900 and 1980, were published in the South
African Journal of Cultural History:
Joe Calafato:
A late twentieth century South African precious metal artist, June 2010, 24, 1,
pp 126-149.
Erich Frey
and Associates: A bold contribution to South African silver- and goldsmith
design, June 2011, 25, 1, pp 148-179.
Early and mid-twentieth century South Africa: Legacies of local gold- and
silversmiths, June 2013, 27, 1, pp 139-163.
An overview of noted gold- and silversmiths in South Africa in South
Africa in the 1950s, June 2014, 28, 1, pp 90-113.
South African precious metal design between 1960 and 1980, June 2015, 29,
1, pp 22-57.
[15] See footnote 14 above.
[16] F. van Staden, Twentieth
century jewellery design in South Africa, South African Journal of Cultural
History, June 2016, 30,1, pp 119-143.
[17] J. Ritchy, Specification for marking
articles made of gold, ref. 15/12/1, SABS
Bulletin No. 29, 01 March 1948. Specifications for the assay of 22ct, 18ct,
15ct and 9ct gold was provided.
J.
Ritchy, Specification for marking
articles made of sterling silver, ref. 15/12/1, SABS Bulletin No. 30, 01 March 1948. See also, M. Vowles, Hallmarking in South
Africa: dead or alive?, SABS Bulletin, 7, 2, June 1998, pp 5, 7 & 8.
[18] A. Boddy, Letter addressed to the South
African Mint, 15 January 1973.
[19] J. van Heerden, Hallmarks on SA silver,
SABS, Letter to Mr A. Boddy, 12 November 1975.
[20] From the Boddy portfolio: Notes on the work
of Radoslav Kirov from R & G Metal Art indicate that he continued using the
dating mark until completion of the series in 1999.
[21] L. Loyd, “ZA stamp compulsory for all
locally produced products”, SA Jewellery
News, March 2013, p 1, week 07, 8. See also, Anon, “ZA stamp comes to
Jewellex 2014”, SA Jewellery News,
May 2014, p 8.
[22] Interview: Mr Lourens Maré, CEO, Jewellery Council of
South Africa, Parktown, Johannesburg, 10 April 2012.
[23] SABS Standards Division, South African
National Standard: Articles made of precious metals, SANS document 29:
2011, Edition 4, March 2011. The document “…specifies the range of fineness and
the composition of precious metals, and lays down requirements for the marking
of articles made of precious metals”, p 3. The table indicating the
designation of precious metal content and its marking is provided on p 6.
[24] SABS Standards Division, South African
National Standard: Articles made of precious metals, SANS document 29:2011,
Edition 4, March 2011, p 8.
[25] Interview: Mr G. Foden, creative jeweller and owner of
the Haglund workshop, Johannesburg, 28 October 2009. See also, www.goldinsouthafrica.com, Gold in South Africa Report, Chapter 4, p 84, 2005, accessed on 16
February 2012.
[26] Anon, “A hallmarking system for South
Africa”, SABS Bulletin, 4, 2, October 1974, p 31. See also, Anon,
untitled clipping from the Boddy portfolio, SABS Bulletin, 4, 10, June
1975, pp 222-226.
[27] Background on the Excalibur mark is
confusing, since the mark was also found on Sheffield silverplate cutlery in
the Dubarry design (1940s/1950s). The matter was further complicated by the
existence of cutlery sets where only the name EXCALIBUR (without the hand
holding the sword) was stamped together with the metal content. As no
further evidence or information on this mark could be found in reference materials
or on the internet so far, the country of origin and the connection to South
African silver remain uncertain. Further research is necessary. E-mail: C.
Meyer-F. van Staden, Goldsmiths hallmarks
final, 18 June 2015.
[28] E-mail: D. Boddy - F.van Staden, RE: Updated version, 19 June 2014 provided the following synoptic biography of
his father Arthur Henry Boddy:
Born in 1904 - Worked for Guardian Insurance Company retiring in April
1968. His son David, began collecting silver as a 14 year old boy, and Arthur
started to create his yellow card index system registering over 6000
silversmiths of whom there was either a photographic reference to their work or
prices realized at auction. These were collated from the Connoisseur Magazines
together with hundreds of silver sale catalogues, books and pamphlets on the
subject. In the early 1970’s he started research on post 1948 South African
silver compiling a research record of this history and a list of silversmiths
and their marks. This gave him hours of pleasure. His son David did the
collecting whilst Arthur did the research, a warm father/son collaboration. At
the age of 73 Arthur suddenly passed away in 1977 of a heart attack. His
retired son continues the work his father began all those years ago.
[29] The listing of maker’s marks were
summarised from the notes of Mr A. Boddy. The information was confirmed by
letters from the silversmiths themselves, or the South African Bureau of
Standards or the Jewellery Manufacturers Association of South Africa , or the
South African Mint, or by published articles.
[30] A.H. Boddy, letter addressed to Mr A.H.
Fahn, Empangeni, 25 January 1975.
[31] W.S. van As, S.A. Mint, Letter to Mr A
Boddy, 13 November 1972. See also a follow up letter by Boddy, (dated 15
January 1973), requesting an indication of the number of hallmark punches that
were sold by the Mint, appears to have been ignored. The Boddy portfolio also
includes a letter from Mrs. G. E. P How (of Edinburgh), residing in St. James
street, London, dated 8 March 1973 in which she regrets the lack of
co-operation Boddy was receiving from the S.A. Mint.
[32] A.H. Boddy, letter to Mr E.S. Fyfe,
Director of the Jewellery Council of South Africa, 13 December 1974.
[33] J. van Heerden, Director General: SABS,
letter to Mr A Boddy titled Hallmarks on
SA silver, 24 November 1972.
[34] Apart from being listed by the SABS, no
additional information could be obtained.
[35]L. Muller (for the proprietor F.A. De
Meillon), letter to Mr A Boddy, 28 February 1973. In 1972 Frans de Meillon and
Ron Stuart produced a 5 piece silver tea service based on protea designs,
weighing 125 troy ounces (newspaper
cutting from the Boddy portfolio: Anon, Poetry in silver, Tribune, 03
December 1972).
[36] Notes from the Boddy portfolio.
[37] Anon, Henry Joseph & Sons (Pty.) Ltd.:
Premier manufacturers of silverplate and pewter ware, in a monograph titled Kempton
Park, Transvaal, Felstar Publishers, Johannesburg, pp. 136-139, 1967.
[38] Anon, Up to the Mark, newspaper clipping from the Boddy
portfolio, 3 October 1975. See also, J. van Heerden, SABS, letter to Mr A.
Boddy, 12 November 1975.
[39] N. Groenewald, S.A. Mint, letter to Mr A
Boddy, 9 August 1972. See also, F. van Staden, Legacies of immigrant gold- and
silversmiths during early and mid-twentieth century South Africa, South
African Journal of Cultural History, 27,1, June 2013, pp 143-144.
[40] S. English, Sales manager: E Tiessen (Pty)
Ltd., Letter to Mr A. Boddy, 24 January 1973.
[41] R. Venables, Norman Watson Engraver &
Manufacturing Jeweller, letter to Mr A Boddy, 16 March 1973.
[42] B. Fitzgerald, Manufacturing to the mark of
quality, SABS Bulletin, June 1998, pp
25-26.
[43] From the Boddy portfolio: Anon,
Standardisation marks of the SABS, March 1974, p iii. Apart from being listed,
no additional information could be obtained.
[44] D. Wemyss, Bounty of silver, South
African Garden & Home, December 1992, p 168.
[45] From the Boddy portfolio: Article on p 25,
scrapbook nr 9.
[46] L.J. Coombes, Secretary of the Jewellery
Manufacturers’ Association of South Africa (Transvaal Branch), letter addressed
to Mr. A. Boddy, 2 November, 1972.
[47] Unpublished document, Constitution of
the Goldsmiths Guild of South Africa,
signatories of founding members, 1973. Shortly thereafter, another well-known
goldsmith Franz Huppertz, joined the Guild.
[48] Peter Cullman and founder members, Constitution of the Goldsmiths Guild of
S.A./Goudsmede Gilde van Suid-Afrika,
1973, p 1.
[49] Interview: Mr D. Shilofsky, manufacturing jeweller and
gemmologist, Lynnwood, Pretoria, 2009-09-30. Membership of the Jewellery Council
was also optional.
[50] B. Maree, Skoonheid uit die natuur, Suid-Afrikaanse Panorama, January 1986,
p 37.
[51] L. Dellatola, Precious jewels, South African Panorama, January 1975, pp 32-33. See also, Anon, Eg
Suid-Afrikaanse sierade, Die Huisgenoot, 18
Junie 1976, p 69, and E. Phillips, They are creating beauty in metal, 1975,
unreferenced newspaper clipping courtesy of goldsmith Hartmut Jäger.
[52] Anon, Smiths open Rosebank Gallery, Diamond News and S.A. Jeweller, August
1979, pp 6-7. Anon, Gold gleaning, Diamond
News and S.A. Jeweller, November 1979, pp 13 and 42. See also, unknown
author, Timeless gold keeps pace with the latest fashions, Diamond News and S.A. Jeweller, September 1981, pp 25 & 27.
[53] F. van Staden, South African metal design between 1960
and 1980, South African Journal of
Cultural History, 2015, 29(1), 22-57.
E-mail correspondence: K.
Donau – F. van Staden, Kurt Donau,
01 February 2012.
[54] E-mail correspondence: K. Donau – F. van
Staden, Kurt Donau, 01 February 2012.
[55] Strauss & Co, Catalogue
for the auction of South African art, jewellery and decorative arts, on 06
February 2012 in Cape Town, Strauss
& Co (Pty) Ltd, pp 84-87, 2012.
[56] E-mail, H. Jäger – F. van Staden, Ilse,
Hartmut and the SA Goldsmiths Guild,
13 December 2012. See also, e-mail, H. Jäger – F. van Staden, 3rd
lot of pictures from Hartmut, 15
December 2012 and e-mail, H. Jäger – F.
van Staden, A few more answers,
17 December 2012. E-mail, L. Kratz - F. van Staden, Re: Goldsmiths: E & L Kratz,
14 August, 2012. E-mail,
P Cullman – F. van Staden, Goldsmiths Guild et al, 12 July 2012 and Re: Goldsmiths Guild et al, 14 July
2012.
[57] Interview: Mr & Mrs Coetzee, goldsmith owners of
Erich Frey Jewellers, Montana, Pretoria, 18 September 2009. See also, J. Hobbs, “SA hallmarking – one step
nearer”, Diamond News and S.A. Jeweller, December
1984, pp 3, 6 & 32.
[58] S.B. Wyler, The
Book of Old Silver, (Crown Publishers, New York), undated. See also, R.
& T. Kovel. Kovel’s American Silver
Marks 1650 to the Present, (Crown
Publishers, New York), 1986.
[59] One of
the SAJCH reviewers of this manuscript provided valuable additional information
on makers’ marks in use. This information was integrated in this table.
[60] See footnote 14.
[61] Felix Vetter was a master goldsmith with
sophisticated engraving talents with which he created sculptural roses as part
of his designs. After casting his jewellery pieces he would shape them by
carving and engraving the pieces with self-fabricated tools. He was interred in
Namibia during WWII. During this time he created rings with flower patterns
engraved on the inner band along with his maker’s mark. The stones he used were
ground by hand. In the early 1950s he won first prize in the creative jewellery
section of the Sao Paulo Biennale in Brazil. He had exceptional upper body/arm
strength. He was married in the 1950s to the Berlin-born Editha. They had no
children. He died of a heart attack one afternoon in the late 1960s in his Jeppe
Street studio. E-mail: P Muser, (Oakville, Ontario, Canada - F van Staden, 19
January 2014), 'He was a true renaissance gentleman’. Felix Vetter was a close
friend of Muser’s father.
[62] F. van Staden, “Joe Calafato: A late
twentieth century South African precious metal artist”, South African
Journal of Cultural History, 24, 1, June 2010, pp 130-131.
