Deutsches Klingenmuseum Solingen - 2009 flatware collectors meeting: an article for ASCAS - Association of Small Collectors of Antique Silver website

The Klingenmuseum is a museum totally dedicated to flatware and cutlery, as the fabrication of knives was the main Solingen industry for centuries. Next to displays of a grand dinner table (Fig. 3) and historic flatware (the museum has a collection of over 400 Art Nouveau flatware patterns), it houses the marvelous Marquardt collection of European knives, forks and spoons and the Pott Archives, which feature all models fabricated by Pott from 1904 to 2005 thus giving an excellent picture about this important flatware manufacturer.
This year convention participants were also treated to a special exhibition: "zu Gast - 4000 Jahre Gastlichkeit/ 4000 years of hospitality".
For more information about the Solingen Klingenmuseum, please consult their excellent website.

Display of an elegant dinner table appointed with 18th century
silver and porcelain

The main program of the convention consisted of interesting lectures.

Dr. RAINER LIEBENBERG spoke about his work as CEO of silver manufacturer Reiner and the constant problems his industry faces in a time of lessened demand and ever increasing costs. Reiner has bought many dies and models from bankrupt silver manufacturers such as Bruckmann, H.J. Rückert and others. Traditional as well as artist designed flatware patterns are still on the production program of this firm. Twice a year Reiner takes orders for these obsolete patterns. The most known patterns are "Atelier", which was ordered for the German Embassy in Washington and "deSign", designed by Rudolf Elser in 1961 originally called "Sterling".

HEINRICH AVERWERSER held a most interesting lecture about German Cutlery Design 1960-1970. (It should be noted that English and German authors use the word cutlery not only for knives but for flatware in general). His lecture was illustrated with a comprehensive exhibition of German flatware, which complemented a special exhibition of the Klingenmuseum’s extensive collection of post WWII flatware. Mr. Averwerser has written a book about the subject, titled: Besteckdesign in Deutschland 1960- 1970, it costs Euro 40.00 and is available by contacting the author by email: heinrich@averwerser.de

The book features many illustrations of the most important flatware designs of this period and illustrations of the marks used, plus an index of contemporary flatware designers, which is referenced to the flatware illustrations.

Right after the war German flatware manufacturers produced mainly 1930’s designs, as the cost for developing new dies and models was prohibitive. This changed radically by the middle of the Fifties, when production of new styles was taken up. Between 1960 and 1970 about 350 new designs from West and East Germany came on the market -the new flatware designs were about the size of the old "Menübestecke" (luncheon size), the knife blade was reduced by about 1 1/4” (3cm), the knife handles got longer, the traditional egg-shape of the spoon bowl got more oval or rhomboid, the fork tines were shortened and the space between tines and handle more dished. The nomenclature for the new flatware size was not uniform, as some manufacturers speak of "Tafel" and "Dessert"size (dinner and dessert size) without giving exact measurements, others like Reiner silver manufacturer speak of "Tafel" (dinner) and "Menü" (luncheon) give measurements (the "Menü" knife measures 21-22 cm).

In the early Fifties a lot of designs still featured detailed decoration; the Sixties - strongly influenced by the "Scandinavian style" - saw a domination of very plain patterns. The style was popularized by traveling exhibitions like "The Arts of Denmark"and "Scandinavian Design for Living". Flatware now embraced form and material as the two main design ingredients. Typical German patterns in Scandinavian style are "Florida" by Wirths, "Landhaus" by Wüsthof or "Helsinki" by WMF. In the early Sixties the majority of patterns were plain lacking any decoration. This changed towards the end of the Sixties. Several manufacturers now introduced patterns featuring all over decoration to the market - Bruckmann’s "petitefleur"is one such example. These should not be seen as a revival of old pre-war patterns, but as an attempt to renew interest in flatware and building up of new markets. New materials for handles were also introduced: bamboo, teak, palisander, ebony but also porcelain, plastics and aluminiumoxid-ceramic. Today the use of these new materials would be unthinkable, as they are all not dishwasher-safe -but in the 1960s dishwashers were not a standard item in German kitchens, even in 1983 only 23% of German households were equipped with dishwashers.

By the late Sixties first signs of market saturation were noticed, an additional threat for the industry was the increased competition of imported flatware from Japan. 1962 Japanese products had about 50% of the German market share, in 1963 an agreement about import limitation between Germany and Japan was reached, but proofed ineffective as by 1967 90% of all flatware sold in Germany came from Japan. The Japanese use of the monobloc-knife – a knife made in one piece and not with an expensive set-in steel blade - allowed for the much cheaper production of flatware. The closing of German flatware manufacturer firms was the logical consequence. The German industry now specialized in high quality products for specific uses - party and picnic flatware, - the "Mijoli" (Milk/yoghurt/lemonade), a long spoon offered in a set of two is a typical example. Rosenthal introduced a new concept of table designs which included matched porcelain, glasses and flatware. Rosenthal used designs of famous designers like Tapio Wirkkala and Wolf Karnagel. Another successful enterprise was a partnership of Mr. Arthur Salm and Mr. Henkels. The firm was named Salm & Henkels. Salm worked in Chicago on the promotion and sales of the S&H products while Henkels – stationed in Solingen - was finding cheap production places for their flatware. Their flatware is often stamped with "AS. Austria" and similar generic marks; the real manufacturers of these wares remain unknown. The Salm & Henkels production program also included hollowware, which mostly imitated styles produced by Dansk Design. But on the whole -despite all attempts of creating innovative products and finding new marketing concepts - the German flatware industry was doomed by the late 1970s.


Englert & Solvie, Mettmann, Hans K. Rodenkirchen, Partybesteck, 1962	Mijoli-spoon, before 1966, unknown designer, J.A.Henckels, Solingen	Rosenthal, Wolf Karnagel, Plus, before 1970	WMF, Irving Harper, Orion, before 1970

BARBARA and BILL BROWN, the eminent flatware collectors and dealers from London/England made a special presentation and exhibition of porcelain handled cutlery which featured rare and fabulous eighteenth century examples. By the way the Browns are moving their stand in Portobello Market to the Delphin arcade.

Many dealers exhibit their wares at the convention and one can find there amazingly rare items and has a chance to chat with very knowledgeable dealers. The lunch, hosted by the Solingen Klingenmuseum, gives a further chance to socialize and get to meet fellow collectors from many different countries.

Dr. BARBARA GROTKAMP-SCHEPERS, the very friendly and able director of the museum, is making sure that everyone has a good time and should be congratulated to organize this convention every year. The Solingen flatware collectors meeting is surely an event which should be put into the calendar of every flatware collector.

Dr. Hood in conversation with Wilfried Moll, having just bought a set of Robbe & Berking newest pattern "Sphinx", he was very delighted to meet the designer in person at the Solingen convention

(click on photos to enlarge image)