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A silver object that is to be sold commercially is, in most countries, stamped with one or more silver hallmarks indicating the purity of the silver, the mark of the manufacturer or silversmith, and other (optional) markings to indicate the date of manufacture and additional information about the piece.
Spanish coins with a purity of 10.15/12 parts silver are marked 10.15 and have a purity of 84.6% silver. S. Kirk & Son first made 925/1000 silver in the year 1886. They produced Coin and 925 silver until 1896, when they dropped the Coin silver from the line. The purity mark used was 925/1000 between 1886 and 1914.
Robert F. Ensko I (October 17, 1855 – May 13, 1934) also known as Robert Ensko Sr. was a Manhattan silver expert and author of Makers of Early American Silver in 1915. [1] [2] [3] The book in its multiple editions has become the standard reference work for antique American silver.
Early American silver and its makers, Jane Bentley, Mayflower Books, 1979, page 121. Antiques Magazine, Volume 60, 1951, page 50. American Silver-Hilted, Revolutionary and Early Federal Swords, Volume II: According to Their Geographical Areas of Mounting, Daniel D. Hartzler, Xlibris Corporation, 2015. "Shepherd and Boyd", Sterling Flatware ...
Multiple marks on silver, left to right: maker's mark , lion passant (assay mark for sterling silver), London town mark, date letter (1835), duty mark . A mark is a written or imprinted symbol used to indicate some trait of an item, for example, its ownership or maker.
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Robert & William Wilson were American silversmiths in Philadelphia, active in partnership from roughly 1825–1846, then continuing as a mark until 1877. It was succeeded by William Wilson & Son. Robert and William Wilson were brothers. Robert, the elder, started making silver at 25 Dey Street, New York City, in 1803. By 1812 he apparently ...
"Andrew Underhill", Online Encyclopedia of Silver Marks, Hall Marks, and Makers' Marks. "An American silver tankard, Andrew Underhill, New York, circa 1775" , Sotheby's. American Silver in the Art Institute of Chicago , Art Institute of Chicago, Yale University Press, 2016, page 103.