To name only a few: Hermeling/Cologne, Posen/Frankfurt am Main, Friedlaender and Sy&Wagner in Berlin, all in Germany; J.Puiforcat in France, Studio Bossard in Switzerland, H.Ratzersdorfer and H.Boehm in Austria, Wolffers Freres in Belgium, R.&S. Garrard, Charles F.Hancock, Charles Stuart Harris, all in England, Gorham in America. For an interesting catalogue of Gorham reproduction silver, see John S.Holbrook:Silver for the Dining Room (Providence 1912).

Willi Rodde:"Erinnerungen und Episoden" (typescript) ca. 1935 in Tafel und Schausilber aus Hanau, Bruno W.Thiele, Tuebingen 1992

A study of imperial silver in Huis Doorn describes some pieces as suspected of being reproductions. See Ina Schneider and Hermann Schadt:Kaiserliches Gold und Silber, Schaetze der Hohenzollern aus dem Schloss Huis Doorn, Berlin 1985, p.103

The patent of Duke Wilhelm VIII, 1736, provided liberty of trade, religion and tax freedom for ten years.

L. Sponsel: Ueber die Geschichte der Hanauer Gold-und Silberschmiedekunst." Kassell, 1888, in Thiele, p.170

Wolfgang Scheffler, Goldschmiede Hessens, Berlin, New York, Walter de Gruyter 1976, page 522 ff.

Scheffler, p.522 misattribution in M.Meinz: Schoenes Silber, Plate 102 – "ca.1660."

This law was not always adhered to and sometimes exceeded by adding a date letter, etc. since Germany was split up into many principalities until the founding of the Deutsches Reich under Bismarck.

Jean Sloane, Christie's New York, workshop on French silver, in connection with the Decorative Arts Institute, Royal Ontario Museum, Toronto :"Versailles, French Court Style and Its Influence," April 29- May 2,1992.

Tiele, p.165

Ernst Ludwig Richter, "Gefaelschte Silber- und Goldobjekte, Moeglichkeiten und Grenzenb der Metallanalyse," in Weltkunst, November, 1986, p.3612.