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Very often it is the pure arrangement of lines (curved or straight), or their combination, with flowers or birds. Never over-designed, but enough to divide the small surface (for example of a vase) in a self-evident and harmonious way. Like the others, not only did he design and apply the silver overlay, he also prepared the porcelain with his own enamel colors, painted the motifs and engraved the silver. Of course he did not produce all these items by himself. Spahr's factory employed about forty specialized workers. The outstanding engraved pieces show the unrivaled quality of Spahr.
25:
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97:. This is then painted on the glass ornament as a design. After the painting is complete, the entire ornament is fired under relatively low heat, it is then cleaned after being quenched and cooled, then it is placed in a solution of silver. A low voltage current is run through the solution and the silver binds in the design, creating a permanent fusion of the silver with the glass.
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artists, artisans and advances in chemistry, physics, electronics and, ultimately, the industrialized techniques of the late 19th century. The arts movements of the day were philosophically against industrialized techniques. Yet, ironically, many delightfully decorated pieces of silver overlay porcelain and glass can be seen with superb handicraft and
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294:. Until recently, it was believed that Beck created the brilliant silver designs himself and that Deusch only produced them. However, this was not the case. As with the porcelain, Deusch and others bought the delightfully stylized glass blanks, decorated them in silver overlay, and sold them under their own names.
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Alfred and
Manfred Veyhl used many different marks, stamps and labels (always placed on the bottom of the item). Vehyl's work often shows the "1000/1000 silver" mark included in the body of the design. Some rare items are signed by handwritten monogram (MV for Manfred Veyhl) and the word "Handgemalt"
254:
An outstanding figure is
Friedrich Wilhelm Spahr. There is evidence that he learned his skill from Friedrich Deusch (some items of both firms have very similar formal designs). He was not only an artisan but an artist in developing repeating circumferential forms in a perfect and harmonic proportion.
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were fixed. The cathode and anode were used to charge the item electronically and this allowed the fusion of silver to the area painted with the silver flux. The thickness of silver desired on the finished item determined how long the item needed to be left in the silver bath; this could be more than
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or 999 for fine silver. The quality of silver used for German overlay can be seen by identifying the impressed 1000 mark (usually on the base or side of an item). The purity and thickness of the silver overlay ensures the beauty of the item is maintained without any loss to the silver even after many
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These luxurious products were most often sold in important jewellery stores. Sometimes the retailer's paper labels survived the cleaning attempts of the last decades, and these labels are always a keen addition for any collector. They confirm that silver overlay porcelain and glass was sold all over
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Friedrich
Wilhelm Spahr mostly used marks impressed directly into the silver. The very earliest and rarest of Spahr's marks began with "MSG 1000 10" ("MSG" standing for "Manufaktur Schwäbisch Gmünd"). This mark was followed by "Spahr 1000 10" (sometimes stamped in black letters on a porcelain base),
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Friedrich Deusch used the impressed mark "Deusch 1000 / 1000" on the early items. This mark was punched directly into the silver. Very often one may also find a red three-digit number on the bottom of the porcelain or glass which indicates this early production. Later, it was replaced by a red stamp
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From the outset, the firm of Alfred Veyhl had its own style. It was mostly the combination of polychromatic painted details of birds, flowers, and similar motifs, framed with silver. The more abstract designs are rare. Alfred, and later his son
Manfred Veyhl, were the only ones who used a varnish to
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to etch a design. This implies that a very exact covering of the surfaces had to be achieved to prevent any damage to areas which were not to be overlaid. Maybe they used a masking lacquer which could withstand the following baking in the kiln which was used to fuse the flux with the surface of the
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Silver overlay was a very exclusive luxury ware from the beginning because of the very complicated and time-consuming steps of manufacturing. Silver overlay items were never mass-produced and were made in limited numbers. The development of silver overlay was forged by a technical alliance between
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With his presence, Schwäbisch Gmünd became the center of German silver overlay production. Schwäbisch Gmünd (about 20,000 inhabitants in that time) had a long tradition since the 16th century in the art of artists working with gold and silver. A school for applied arts existed there from an early
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A much older technique of overlay, which was commonly used in the Indian subcontinent since ancient times, involves the use of a silver sheet wrapped around the ornament and then the design beaten onto the sheet or it may be burnished. This technique renders the design silhouetted against a dark
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The early items typically have a thicker silver layer. One can also see the stroke of the brush which proves the overlay and painted surface were handcrafted. Printed designs were used more often on items produced later, especially those of
Manfred Vehyl. These can be recognized by studying the
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The history of who first devised the process is unknown. What is known is that from 1870 onwards, a number of patents were filed for the process. Although all patents appear after 1870, it has been suggested that the process may have been discovered earlier, and the patents claimed a short time
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afterwards. The most well known patent holders are
Frederick Shirley from the United States of America, whose patent dates to 1879, Erard and Round who were under the auspices of Stevens & Williams Ltd. whose patent is from 1889, John Sharling also of the USA, whose patent is from 1893 and
251:. Alfred used more softer and rounder lines in his designs, whereas Manfred had a more angular, expressive style. A specialty for this company was that clients could choose from a certain range of porcelain forms and décors. The items were then produced exclusively in a single production run.
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When colored enamels were to be used on the finished product, they had to be fired prior to the final stage of the silver overlay process. Engraving the silver was the last, and sometimes most laborious, work; it was brought to the highest level by
Friedrich Wilhelm Spahr and his workers.
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date, which became a school for the precious metal industry in 1907. In the 1920s almost 190 firms were involved in the precious metals industry. The presence of materials, artisans, and component suppliers in on place created an ideal environment for the industry to thrive.
101:
backdrop and was commonly called the Aftabi design technique. This technique of overlay predates the technique that is common today, but without the use of electroplating, it was a time consuming and tedious process, which could only be accomplished by skilled artisans.
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around 1905 created a number designs which featured silver overlay, however they were merged with Silver City Glass
Company in 1978, so even though they have done extensive work, there are no unique marks associated with the company.
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which shows a coffeepot and the name Deusch. In addition, to these marks, the following marks may also be found: "1000 / 1000 Silber" or "1000 / 1000 Feinsilber". Later items may have the additional mark "Made in
Western Germany".
408:-inspired designs. Thus, while the handicraft movement died after a single incandescent generation, their designs live on, as do the stunning works of Friedrich Deusch, Friedrich Wilhelm Spahr, and Alfred & Manfred Vehyl.
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parts for the automobile industry. In 1976, after three generations, the Deusch family relinquished interest in the firm of
Friedrich Deusch and Company Today, there is scant knowledge and interest about this firm's history.
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Alvin Corporation, which was later owned by the Gorham Mfg. Co. after 1928, also used special marks. They manufactures pieces of sterling silver flatware, as well as hollowware and special toilet ware.
400:(close to Schwäbisch Gmünd). Friedrich Wilhelm Spahr created timeless designs which can be found today all over Europe and even in the United States. These are rare, desirable and mostly exquisite.
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design: if the color is flat and full of small dots, this strongly indicates a printed design. Also, the silver work on printed color designs appears not to cover the design closely, as it should.
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in its purest form. From the 1950s, it was more a concrete style with flowers and so forth. Deusch applied silver overlay to vases, plates, coffee and tea services, and other items.
35:
122:, the German inventor whose name is most associated with silver overlay today, whose patented the process in 1895 and displayed his work in 1907 at an exhibition in
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glass are often described as silver overlay, but the silver is so thin that it looks as though it has been painted onto the surface, producing a flat effect.
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and marketed the finished products under their own names. They also produced silver overlay glass in the same manner. A large amount of glassware came from
522:
Boosen, Monika; Holthuis, Gabriele, "Aufbruch in die Moderne - Silber aus Schwäbisch Gmünd" [Dawn of Modern Art - Silver from Schwäbisch Gmünd],
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The La Pierre Manufacturing Company also sued special marks. It was established by Frank H. La Pierre in 1885, and headquartered at 18 East 14th Street,
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30 hours. Finally, if the masking lacquer (discussed earlier) did not burn in the kiln, it must have been removed later (probably with chemical fluids).
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It was very important to monitor items being overlaid with silver – waiting too long resulted in visible dark spots and slight roughness where the
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in southern Germany where, in 1912, he founded his firm Deusch & Co. Deusch continued exhibiting his wares and gained the Gold Medal at the
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Article about other inventors of Silver overlay on glass and porcelain like Oscar Pierre Erard of Birmingham or the American John H. Scharling
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Friedrich Deusch, the oldest and biggest firm, also sold internationally and even produced a large amount of silver overlay tableware for the
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341:. which was active from 1848 till 1865 used a lion as their mark. They also used a rams head and the phrase "coin" to mark their items.
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years of cleaning. Although other kinds of silver, such as nickel silver, can be sued for silver overlay, the effect is not as vibrant.
202:) which was fixed permanently on the prepared form. The particular objects (such as a vase) were first roughened by engraving or using
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Veyhl (father and son) traveled a lot offering their newest items to different jewellery stores. Later, they opened their own shop in
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later with "Spahr 1000", and finally with transparent plastic labels on the bottom printed "Spahr Feinsilberauflage 1000 / 1000".
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before its incorporation in 1895. Their special marks appear on their silver overlay item such as hollowware and novelty items.
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Parallel to the development of German silver overlay, silver overlay production was also initiated in the United States.
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388:. Deusch is the only firm that has survived (as of 2013), although the focus of production has changed from fine art to
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Early items designed and produced by Friedrich Deusch are very classical, and this was followed by an abstract phase of
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Friedrich Deusch invented a way to combine silver and a non-conductive surface such as porcelain or glass with
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After Deusch and Company, other firms specializing in silver overlay were founded. In particular, the firms of
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1074:"La Pierre Mfg Co (Newark, NJ / Wallingford, CT) - designs in museums, at auction, and in exhibitions (2016)"
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93:. Most techniques used to create silver overlay involve the use of special flux which contains silver and
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286:, which is not far from Schwäbisch Gmünd. A respectable amount of glass to be overlaid also came from
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The three companies bought and used porcelain blanks from several well known producers such as
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526:, Schwäbisch Gmünd, Germany: Museum am Prediger - Schwäbisch Gmünd, p. 40 and 82
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Glass Collector's Digest, October/November 1989, Volume III Number 3, Silver Overlay
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The typical thick, palpable silver work, permanently fused with the blue porcelain
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Masterpieces from the Department of Islamic Art in the Metropolitan Museum of Art
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The specific feature of German silver overlay is the degree of purity – 925 for
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1098:"Rockwell Silver Company design catalogues and historical information (2016)"
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item. The next step was to galvanize the item with the purest silver (1000).
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Urbacher Silver - Silver Porcelain Manufactory Veyhl Urbach / Pluederhausen
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is an electroplated coating of silver on a non-conductive surface such as
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123:
618:
Welch, Stuart Cary; N.Y.), Metropolitan Museum of Art (New York (1985).
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970:
Urbacher Silber - Silberporzellanmanufaktur Veyhl Urbach / Plüderhausen
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N.Y.), Metropolitan Museum of Art (New York; Ekhtiar, Maryam (2011).
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Various Marks used by companies that created silver overly ornaments
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Otto F. Götz (November 2009), "Jean Beck/part2 - WMF und Deusch",
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Toth, Josef; Stegmaier, Karlheinz; Wannenwetsch, Walter (2008),
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541:"Silver Overlay Glass information from the Glass Encyclopedia"
198:. He achieved this with a special conductive fluid (a type of
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Collectors journal (Sammlerjournal) of 2009, pages 38 – 45.
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Sumptuous Surrounds: Silver Overlay on Ceramic & Glass
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A Small Collection of Antique Silver and Objects of Vertu
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Sultans of Deccan India, 1500–1700: Opulence and Fantasy
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A Vase of Deusch with preserved label of jewellery store
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Otto F. Götz about Silver overlay on Glass of Jean Beck
43:
597:. Alexandria Press in association with Laurence King.
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Friedrich Deusch as inventor of German Silver overlay
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Nineteenth Century Glass: Its Genesis and Development
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Aufbruch in die Moderne - Silber aus Schwäbisch Gmünd
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Otto F. Götz (January 2013), "Beck und Poschinger",
993:[WMF grows: from Württemberg to the world]
835:[The gold and silver of Schwäbisch Gmünd].
672:Haidar, Navina Najat; Sardar, Marika (2015-04-13).
34:deal primarily with Germany and do not represent a
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673:
471:
1156:Online catalogue / Museum of Glass in Frauenau
991:"Die WMF wächst - von Württemberg in die Welt"
1150:Silver overlay on Glass / Spahr and Jean Beck
771:(Revised ed.). Exton: Schiffer Pub Ltd.
32:The examples and perspective in this article
8:
833:"Die Gold- und Silberstadt Schwäbisch Gmünd"
594:Gold, silver & bronze: from Mughal India
963:
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329:The Rockwell Silver Company established in
976:], Urbach, Germany: Museum am Widumhof
461:: CS1 maint: location missing publisher (
438:Monika Boosen; Gabriele Holthuis (2010),
70:Learn how and when to remove this message
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470:Carlo Burschel; Heinz Scheiffel (2006),
16:Method for creating art and luxury items
709:"Metallporzellenfabrik Deusch & Co"
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1124:[Metal Finishing]. Deusch GmbH
1050:"Alvin Corporation: history and marks"
680:. Metropolitan Museum of Art. p.
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763:Revi, Albert Christian (1981-11-01).
7:
1024:Frauenau Glass Museum online catalog
175:Palpable overlay with purest silver
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797:. Richardson Printing Corp. 1989.
621:India: Art and Culture, 1300-1900
235:A vase of Friedrich Wilhelm Spahr
645:Topsfield, Andrew (2014-04-30).
478:(in German), Stuttgart: Arnold,
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736:Stokes, Jayne E. (1991-06-01).
714:. Deusch and Company. p. 2
442:(in German), Schwäbisch Gmünd,
648:In the Realm of Gods and Kings
624:. Metropolitan Museum of Art.
570:. Metropolitan Museum of Art.
322:. It relocated its offices to
1:
837:Schwäbisch Gmünd town website
290:, a famous glass designer in
651:. Philip Wilson Publishers.
386:Royal House of Saudi Arabia
46:, discuss the issue on the
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1022:[Metal Objects].
940:"Silver overlay on Glass"
545:www.glassencyclopedia.com
742:. Milwaukee Art Museum.
591:Zebrowski, Mark (1997).
276:Krautheim & Adelberg
1054:www.silvercollection.it
892:www.silvercollection.it
339:Gorham Manufacturing Co
156:and Alfred and Manfred
154:Friedrich Wilhelm Spahr
888:"SILVER OVERLAY GLASS"
861:"Silver Overlay Glass"
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368:Sales and Distribution
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187:Bohemian and Venetian
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1102:www.artdesigncafe.com
1078:www.artdesigncafe.com
938:Spahr and Jean Beck.
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135:1913 World Exposition
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952:on November 2, 2014.
52:create a new article
44:improve this article
129:Deusch returned to
1152:(PDF; 4,0 MB)
1122:"Metallveredelung"
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160:were established.
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867:. Giorgio Busetto
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406:Art Nouveau
390:galvanizing
331:Meriden, CT
227:Classifying
1186:Metallurgy
1170:Categories
1128:October 3,
1107:2017-12-16
1083:2017-12-16
1059:2017-12-16
1030:October 3,
1001:October 3,
921:2017-12-16
897:2017-12-16
871:October 3,
842:October 3,
818:2017-12-16
718:October 3,
550:2017-12-16
506:References
324:Newark, NJ
284:Geislingen
381:Germany.
298:The marks
288:Jean Beck
264:Rosenthal
249:oxidation
167:Technique
87:porcelain
48:talk page
457:citation
241:Art Déco
124:Bordeaux
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524:Catalog
434:page 27
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143:Belgium
105:History
1181:Metals
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216:anode
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139:Ghent
91:glass
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773:ISBN
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