Jewish Silver: Vintage Judaica Kiddush Cup

This charming little beaker was part of a box-lot of silver I won at auction. I put the rest of it up for sale, but kept this one because I was attracted to the beautiful decorations and bunches of grapes on the sides. What we have here is a piece of Judaica silver (‘Judaica’ meaning any paraphernalia related to the Jewish culture or religion). It’s in absolutely gorgeous vintage condition and it’s the first confirmed piece of vintage or antique Jewish silver I’ve ever had in my collection.

So…What is a Kiddush Cup?

Kiddush cups – traditionally made of gold, or more commonly – silver with gilt interiors – are beakers or chalices used by those who follow the Jewish faith, to serve and consume kosher wine during their weekly observance of the Sabbath. It makes up part of a simple ceremony where simple, everyday staples (in this case, wine, and challah bread) are eaten during the Sabbath in accordance with the Torah’s instruction that it is a day of rest and relaxation from the toils of the week.

‘Kiddush’ is the Hebrew word for ‘Sanctification’ and in this respect, refers to the sanctification of the bread and wine consumed during the Sabbath (or other significant holy events, such as weddings, special birthdays, or other Jewish holidays).

Continental silver Kiddush goblet, decorated with a bunch of grapes, and “JERUSALEM”, in Old Hebrew. Thanks to my Jewish friends (you know who you are if you’re reading this!) for helping me with the translation!

Kiddush cups are therefore important symbolic and religious artifacts to the families which own them. They’re often purchased for, or given to children (boys and girls) during their Bar/Bat Mitzvahs and as mentioned previously – are usually silver, lined in gold. Due to their significance and their expense, kiddush cups are treated with great care. Some cups can become family heirlooms, with young family members inheriting the cups of deceased ancestors, instead of getting their own. Children who aren’t allowed to drink wine are sometimes given grape-juice to drink from their cups, until they’re of legal drinking-age.

How Big is a Kiddush Cup?

Honestly? Not very. The vast majority that I’ve seen, both online and in person, were relatively small. No more than three or four, four-and-a-half inches tall. That said, they’re not meant as a daily drinking vessel, hence their relatively diminutive size. That, and they’re meant to hold wine, not water.

How to Identify a Kiddush Cup?

Kiddush cups typically come in one of two styles: Chalices or goblets, and beakers, sometimes (but not usually) with a handle on the side. They’re almost always made from silver (anywhere from 800 continental, up to 925 sterling), and they’re almost always gilt (gold-plated) around the interior. This is to counteract the acidity of the wine which the cups usually hold.

Not all Kiddush cups are festooned in decorations. This one is simply bordered with a lovely filigree pattern near the rim. The silver-mark and maker’s mark on the base identified it as a Kiddush cup.

They’re also usually relatively small, with a cup-size (even with a footed goblet) being not more than four or five inches tall.

Their exteriors are often (although not always) elaborately decorated, with engraving, chasing, and repousse embellishments. To more readily identify them as kiddush cups, as opposed to just standard silver beakers, some cups are deliberately adorned with Jewish themes. These include Stars of David, words or phrases in ancient Hebrew text, or bunches of grapes and foliage worked into the decorations.

Judaica Silverware and the Holocaust

During the 1930s and 40s, many European Jewish families fled, or went into hiding. And where possible, their silverware went with them. Jewish families who fled Europe packed their menorahs, challah trays, kiddush-cups, mezuzahs and countless other silverware into their trunks and cases and boarded ships bound for England, Canada, Australia, America, and even China, in the years leading up to the Second World War.

Families who couldn’t make it out in time hid their silverware, or even buried it in their homes to keep it from the Nazis. Some families were able to retrieve their silverware after the war, before migrating out of Europe, and in modern times, these pieces of rare silver form an important part of their family histories, as well as being priceless heirlooms. Today, antique, pre-war Jewish silver is both rare and highly sought-after. Exceptionally fine candelabras, trays, menorahs, etc, can fetch high prices in auction-settings.

Can you buy modern Judaica silverware?

Absolutely! Silversmiths, companies and websites all exist to cater to this market, and beautiful examples of modern Jewish silver can be purchased online. One firm of note is that of Hazorfim, which has been in operation for nearly seventy years!

So, will I ever sell my little grapey Kiddush cup? I don’t think so. It’s just too beautiful to sell. On top of that, buying it has been a learning experience, showing how you really need to know a lot about history and different cultures, to fully appreciate the depth and breadth of antiques.

 

A Solid Silver Plate

You find the strangest things in box-lots at auction. This came with a couple of old candlesticks which were in pretty lousy condition. While they were really only good for the scrapping pot, the silver plate, was in pretty damn good nick. The two or three age-marks on the surface of the metal were easily removed with a bit of polishing and sprucing up, and the heavy tarnish around the borders were eventually removed with enough scrubbing and elbow grease.

There’s really not much to be said about this plate. All-told, it measures only eight inches from edge to edge, and is perhaps an inch deep, if that. It’s circular, with a nice, wavy, raised border. It’s not as elaborate as some silver plates I’ve seen online, but at the same time, it’s not as simple as some others I’ve seen. It’s somewhere in the middle. It’s decorated enough not to look really plain, but not so decorated as to look really gaudy and flashy.

Apart from the purity mark on the back (for 90% silver) and the indications that it was made in South America, there’s nothing on it to denote its age, who it was made by, or for what purpose. I’m not even sure if this is part of a set, or not. I suspect not, but I have no way of really knowing. Like the pedestal bowl in my previous posting (see further down), I expect that this was a single piece, meant for decoration or service, rather than as part of a set, since breaking up a set of solid silver plates seems almost heretical!

Whatever the plate’s story is, and despite its simplicity of style, I think it’s beautiful. While it’s not really big enough to be a dinner-plate, it’s definitely much bigger than other silver plates that I’ve seen in person in many, many years.

 

Footed Continental Silver Bowl (1915)

Yet another auction-win, this beautiful silver bowl is the latest addition to my modest vintage and antique silverware collection. It’s about four inches high, and eight inches in diameter, with beautiful curving decorations on both the foot and body, a wide lip and a solid base.

It’s marked on the base with an ‘800’ (for 80% silver by purity), and with a crescent moon and crown (hallmark denoting silver manufactured in Germany), and a logo for the company of M.H. Wilkens & Sohne (“M.H. Wilkens & Son”). Established in 1810, the company is still in production today. The serial-number on the base of my piece (238007) corresponds to a manufacturing date of 1915!

The detail on the side. Getting into the crevices to rub out the tarnish was a long and frustrating process which still isn’t fully complete…

Polishing this piece has proved tricky. The wavy lines and decorations, while very attractive, are a real nuisance to clean! Getting into the crevices to rub out the tarnish has been almost impossible. I’ve needed a lot of patience just to get the dish to an even halfway decent appearance. That said, it’s not a bad job so far.

The Manufacturer: Wilkens & Sohne

In business since 1810, M.H. Wilkens & Sohne (today just ‘Wilkens’), is one of Germany’s longest-operating silverware manufacturers, making everything from bowls to cups, porringers, cutlery, bowls and tableware. Their website lists a wide range of merchandise in both silver, and silver-plate.

The Wilkens marks. The spindle-press (left) for Wilkens. The 800 for 80% silver, and the crescent and crown, for German silver.

Researching the manufacturer of the bowl was a tricky process. I already knew a bit just by looking at the marks, but not much. I knew that it was 80% silver, and I knew that the bowl was made in Germany, and after 1886 (the crescent and crown didn’t show up until then), but nothing else. Researching German makers’ marks revealed that the odd shape – the press – was the hallmark of Wilkens & Sohne, which led to me finding their German wikipedia page, which told me about their production-dates and serial numbers, as well as the link to their official website.

The production number, 238007, helped me to date the piece to 1915!

Purpose of the Bowl?

Honestly, I don’t know! I suspect it may be purely decorative, or it may have been used as a fruit bowl or serving bowl of some kind. It’s not really big enough to be a soup tureen or punch-bowl, but it’s not small enough to be something used for individual service. There doesn’t seem to be any indication that it ever had a lid, or an underplate or tray, either.

The inside of the bowl.

Measuring eight inches across, and four inches high, it’s not exactly small, but on the other hand, not really that huge. That said, it weighs the better part of a half-kilo of silver, so it’s not really light, either! It’s probably the heaviest piece of silver I’ve bought so far and apart from one or two pinhead dents, it’s in spectacular condition.

Fixing the Bowl

The underside of the bowl, showing the decorated foot. The hallmarks denoting manufacture, date and purity, were struck to the inside edge.

There were one or two minor issues with the bowl when I bought it. First were the pinhead dents, neither of which is noticeable, so I left them alone. The more immediate problem was that the bowl wobbled. After feeling around with my fingers I discovered that this was because of a dent in the base. A handful of well-placed strikes with a padded, ballpeen hammer rounded the dent out and flattened the base, removing the wobble and restoring the shape! Not all such dent-removal is so easy, but sometimes, you can get lucky in popping, hammering and pressing out dents with a careful application of force.

 

Treadling Away: Fixing a Singer 66k Seven-Drawer Treadle Sewing Machine (1926)

Well over a year ago, now, a family friend got me on my own during a get-together on a public holiday, and asked me all about antique sewing machines. She was having her house renovated and when the renovations were complete, one of the new rooms was going to be a sewing room.

The problem was, she didn’t have a sewing machine. Or at least, not one which worked. The one machine she did have was broken. It was one of those modern white plastic junky things which runs off electricity and has a million bells and whistles on it. It was expensive, fragile and unreliable. Because of this, she wanted something more reliable and robust – hence the questions about antique machines. She already had a pretty good idea of what she wanted: It had to be antique, in good condition, with nice decorations and decals, it had to be in full working order, and it had to be a treadle-powered.

While I tried to keep an eye out for such a machine, eventually, she got one on her own, and she and her husband dropped it off at my place for me to have a look at it. Although a little battered, the machine was in good working order – it was just extremely dirty, grimy, dusty, and very stiff.

The machine when it arrived.

Antique sewing machines are famous for two things: Their beauty, and their robustness. Their decals, their decorations, their gold-leafing, mother-of-pearl and the various patterns and mouldings applied to the machines and their cabinets and cases were a deliberate attempt by manufacturers to sell their machines to an initially skeptical public in the 1800s.

Because machines were so expensive to buy (most did so through hire-purchase schemes), they had to be strong and robust enough to work for long hours without wearing out, and take a beating without breaking! In some cases, they had to take several beatings, because despite being made for the domestic market, a lot of them were (and still are) used in medium-scale manufacturing. This means that the machines had to be made strong enough to run almost nonstop for hours every day.

The beauty on this machine was more or less intact, but the robustness was wanting. Decades of non-use meant that the entire mechanism had seized up. Once the machine had been dropped off with me, I got to work pulling it apart, cleaning it, and oiling it!

“So What is this Machine?”

It’s a Singer Model 66-K, made in Kilbowie, Clydebank, Scotland, back in 1926. It’s a round-bobbin machine that uses class-66 bobbins, and it is decked out in “LOTUS” decals. My parents’ friend purchased it at a local antiques shop and brought it round to our place for me to give it a bit of TLC. I’ve always loved these machines and told her that if she ever got one, I’d be happy to give it a once-over to ensure proper operation!

The 66-model came out in 1900 and at the time, was the most modern and up-to-date type of machine available, a big boost from the much older-style shuttle-type machines, used in the second half of the 1800s. The machine was quieter, was easier to use, and had fewer components, which meant that there was less to go missing, less to break, and less to worry about when it came to using the machine.

The 66 was a full-sized machine, meant for regular, heavy use, compared to the smaller models like the 28 or the later Singer 99, which came out in the 1920s, which was basically the little brother of the 66.

“What did you Have To Do?”

The restoration of this machine involved about six different steps. They were, in order…

Disassembly. 

Pulling the machine apart. Removing plates, covers, unscrewing components, removing the clutch-wheel and balance-wheel and basically taking the machine apart as far as possible without requiring heavy tools. During this stage, I also removed the electric motor that was mounted onto the side of the machine at sometime during its life. My friend’s mother didn’t want an electric machine, she wanted a treadle one, so off went the motor, which not only restored the machine’s original look, but also reduced the overall weight of the machine.

Removing the side-mounted motor.

Cleaning & Lubrication.

Once I’d pulled off as much as I could, I cleaned everything out with tissues and cotton-buds and stuff. Then once the grime and dust and grease and grit had been scoured away, the next step was to lubricate the machine by dousing the entire mechanism in sewing-oil.

The motor, power-cords and foot-pedal, all removed…

This was tipped over the gears, poured down the holes in the top of the machine (which are there for that purpose), and then carefully working the machine’s mechanism to get it moving properly. On some machines which are really, really stiff, that can be a massive challenge – but on this one it wasn’t too difficult. Don’t worry about being too forceful with these machines – they were designed to take a beating.

Removing the balance-wheel for cleaning and oiling.

Replacing the Treadle Belt!

The next step was replacing the treadle-belt. I was lucky enough to find the original belt and securing-staple inside the drawers that are built into the machine-cabinet. It was in pretty good condition, so I measured it up, looped it around the machine and the drive-wheel, and then started to splice the cord together.

The belt is made of leather, and originally, it would’ve been joined simply by punching a hole in either end, feeding the staple through it, and then clamping or crimping it together with pliers. First step was to punch the holes. I did this with a steel spike and hammer. I punched one hole, fed in half the staple, wrapped the belt around the mechanism, and then marked where the other end of the staple would go through the other end of the belt.

The belt back on the machine!

I removed the belt from the machine, punched the other hole, wrapped the belt back around the treadle mechanism, fed the other end of the staple through the second hole, made sure everything lined up properly, and then crimped everything shut with a pair of pliers. I left a bit of slack in the belt so that the machine could move freely, and so that the belt wouldn’t get any undue strain. The next step was to test the running of the machine.

Testing the Machine…

The finished machine!

Once the belt was on, I started testing the machine, oiling it where it squeaked, checking that the motion was smooth and regular, and that everything worked – that it sewed, that the tension was correct, that the bobbin-winder spun around smoothly, and that it would actually fill a bobbin. Once that was done, it was simply a matter of wiping the machine down, polishing it and ringing up my friend to tell him that his mother could come by and pick up the machine whenever she wanted to!

All in all, it took me about two or three days to get the machine back to functioning order, working in sections. I’m very pleased with the results!