Romanian Hallmarking and Information

[dognose]

Romanian Hallmarking and Maker's Marks Information

A topic for sharing details of the marks of Romania and details of their silver trade.

[huszas76]

Hello all!
I have this schedule about the hallmarks of Romania from 1906:

[huszas76]

Here is some pictures about the marks:

1906-1926: 750‰ silver

[huszas76]

1926-1937: 800‰ silver

[huszas76]

1955-2004: 800‰ silver

[huszas76]

1906-1926: 583‰ gold

[huszas76]

1937-1949: 583‰ gold

[huszas76]

1955-2004: 583‰ gold

[dognose]

If I'm correct, this is another version of the 1926-1937 silver mark:



The letter 'P' at the base indicates the assay office. It is known that 'A' is for Bucharest and 'L' for Muntenia, but other noted letters, 'C', 'N', 'O' and the 'P' remain unidentified at the moment.

The two strokes to the right of the 'P' indicate the purity, in this case 800/1000. A single stroke indicates 950/1000, and three strokes, 750/1000.

I'd be delighted to receive any corrections/confirmations

Trev.

[dognose]

This I believe is later version of the above mark, in use 1937-1949:



During this period the strokes were applied to the top of the punch. This one has two, indicating 800/1000.

I'd be delighted to receive any corrections/confirmations

Trev.

[dognose]

Another example of the 1906-1926 silver mark, the 'III' mark between the two fish indicating 750/1000:



Could the 'B' mark be an assay office indicator?

Trev.

[dognose]

'R' in a circle:



Qrt.S provided this fine explanation in another topic:

The R in the circle. It was used from 1940 to early 1948. It is an "occupation mark" used on objects manufactured in the occupied provinces of Romania i.e. North Ardealul 1940-44, as well as Bukovina and Moldavia 1944-45. It was also used a short period after Romania became a communist state 1945-1948 in order to indicate private silver objects brought from the mentioned provinces to Romania.

Trev.

[dognose]

Another example of the 1906-1926 silver mark, this one is contained within the spade shaped punch and has 'II' between the fish indicating the 800/1000 silver standard:



Trev.

[dognose]

1937-1949 750/1000 standard mark with the three strokes, accompanied with the 'R' within a circle (1940-1947) occupation mark:



Trev.

[dognose]

ROMANIAN GOLD AND SILVER STANDARDS - 1906




Source: The Board of Trade Journal - 23rd August 1906

Trev.

[dognose]

Silver hallmarking information 1906-55:



Trev.

[dognose]

THE BEAR RAMPANT MARK


An example of what is thought likely to be a Romanian maker's mark, a bear rampant. This as yet to be identified maker was working between the years 1906-1926. The mark was noted on a set of spoons imported into Russia via Riga and retailed by the Court jeweller the Brothers Gratschev.








Update: There is now some doubt that this mark may be that of a Romanian maker, but may be that of a, perhaps unofficial, import mark used at Riga. For a possible explanation see: viewtopic.php?f=46&t=49338&p=150536#p150536

Trev.

[dognose]

A fine piece of silver with a strong Romanian connection, a very large table centrepiece donated by the wives of the members of the National Liberal party of Roumania to H.R.H. the Princess Marie of Edinburgh, upon the occasion of her marriage to Prince Ferdinand of Roumania in 1893, made by Paul Telge, the German goldsmith to the Romanian Court:



ROMANIAN ART IN ROYAL SILVERWARE

Through the courtesy of Herr Paul Telge, jeweler to the courts of Berlin, Germany, and Bucharest, Roumania, who had photographs specially taken for 'The Jewelers' Circular' from which the fine engraving which ornaments this page was reproduced, we are in a position to give an illustration and description of a characteristic specimen of high art in silversmithing from a German standpoint, in the large table center-piece donated by the wives of the members of the National Liberal party of Roumania to H. R. H. the Princess Marie of Edinburgh, upon the occasion of her marriage to Prince Ferdinand of Roumania. The work is of solid silver oxidized, and is accompanied by two flower or fruit vases. The principal piece is of oval form, 1½ meters inches(41½ inches) by 1.30 meters (40.55 inches) high, representing the sea slightly agitated. In the center, upon a proper base, stands a rectangular edifice, at the foot of which is, on one side, the date of marriage — "10 Ianuarie 1893," and underneath the letters F (Ferdinand) and M (Mary); on the other side is a stanza, in Roumanian which may be translated as follows:

'' You have in our hearts holy altars,
"And in our love, a mighty power,
"The Roumanians offer you, with a joyous enthusiasm—
"The greatness, the good fortune in their beloved country"

Below are two united shields, that of Prince Ferdinand of Roumania, and that of Princess Marie of Edinburgh. Upon the four sides of the edifice, are, in niches, on one side the genius of Love; on the other, the genius of Glory; and on the two others, two inscriptions being extracts from poetry of Alecsandri. One of them translated is:

"That the country cherish you, "That the enemies tremble, "That good-fortune and glory accompany you, "That your name spread in the world."

The other inscription translated is: "That the commencing year be brightened by a brilliant sun; That it develop a new way to great deeds, rich in results, for the Roumanian nation, because this has for centuries been singled out for a brilliant destiny ; it has been and will be the immovable sentinel in the land of its forefathers."

Above the edifice is a large vase, from which emerges an elegant stalk with the figure of Fortuna, with a cornucopia of abundance and a crown. The whole is 1.30 meters high. On the two sides of the edifice afloat upon the waves are two barks in the shape of conchs, conducted hy Amors and surrounded by tritons and naiads.

The two vases, which are separate pieces, are supported each by a couple of Amors. The style is that of Louis XV., and of oxidized silver, mat; the interiors of the vases and barks only are gilt. The work of art is of an imposing effect; the general conception is very artistic, the symbolism ingenious and appropriate, while the proportions are in perfect harmony. The principal feature of the production is, however, the beauty of its details; the correct representation of the waves, the perfect forms and the variety of the figures, the grace and ease of the ornamentation, and the finished execution.

Source: The Jewelers' Circular and Horological Review - 22nd March 1893

See: http://de.wikipedia.org/wiki/Paul_Telge

Trev.

[dognose]

ROMANIAN HALLMARKS AS FROM 2008:



Trev.

[dognose]

Handsome Cup Recently Presented to the King of Roumania





On the occasion of the recent jubilee of King Carol of Roumania, celebrating the 40th anniversary of his accession to the throne, the Roumanian Government entrusted to the court goldsmith, Paul Telge of Berlin, the execution of a cup for presentation to the King. The piece is shown in the illustration on the front cover of this issue, is about three feet in height, embossed all over and decorated with painting in enamel and other rich ornamentation.

The style used is the Gothic, but without a slavish adherence to old models. A certain freedom as regards outward form was necessitated by the character of the relic encircling the cup, designed to do honor to the prince. It shows Roumanians in national costume amid characteristic landscape. In the foreground is the figure of the King himself; a female figure strews flowers before him, and another hands him a goblet of wine, typifying the purpose of the cup. Upon the cup appear the coat-of-arms of 30 districts of the country, and in the center the arms of the kingdom, while on the cover are the shields of Moldavia, Wallachia, Craioba and Bessarabia. The enamel paintings were done by Frida Baetanier, of Berlin.

Here is a masterpiece of the goldsmith's art, which does the greatest credit to its creator and affords new proof that the old styles still retain the freshness of youth in spite of the domination of the model schools. The antique shape of the cup is better than any which offer only novel and originality, without attaining the perfect suitability to the intended purpose possessed by the old and tried forms.

Source: The Jewelers' Circular - 12th December 1906

Trev.