Tongs that appear to have been influenced by the baroque style are characterised by an emphasis 
on longitudinal patterns (Fig. 705, p. 429). A similar pair of tongs is the one with arms curving in two 
directions (Fig. 706, p. 429). 
A characteristic shape with smooth or perforated arms and floral or geometric ornamentation can be 
dated to between 1830 and 1850 (Fig. 707, p. 430, Figs. 709, 710, p. 431). Yet another group of tongs 
is distinguished by its variety of decoration. At first glance the surface appears to have been worked, 
but was in fact produced by pressing. Some decorations were evidently particularly populär, and in 
some cases their occurrence allows us to classify otherwise completely unmarked tongs. 
A very common type of tongs is richly decorated with a swan with a long, curved neck combined 
with leaf and spiral motives (Figs. 712-730, pp. 432-441). The five pairs of tongs illustrated here are 
differently marked and can be attributed to several Viennese manufacturers. 
A comparison of details allows us to distinguish differences and commonalities (Figs. 725-730, 
pp. 438-441). The bird's wing hallmark is the only marking on many silver objects, especially small 
ones. The relevant literature describes this as a marking for foreign silverware from 1925 onwards. 
However it also has another significance that is of great importance to us. In a decree issued by the 
Ministry of Finance in the year 1925, the hallmarks for foreign silverware were classified into four 
groups. 
As a result it should indicate only the foreign origin of items marked in this way. However, this is not 
the case. As a result of my Investigation of several pairs of sugar tongs of the same type, but with 
different markings, I became aware that the bird’s wing mark must also have another significance. In 
several instances the type of sugar tongs with a swan was marked with the Austrian hallmark and 
maker's marks, but only in one instance with the bird's wing mark. 
I found the solution to this puzzle in a Ministry of Finance decree dating from the year 1954. This 
States that privately owned unmarked silver objects had to be given the hallmark for foreign articles 
whenever they were sold or changed hands. It follows that both Austrian and foreign items may bear 
the wing mark. 
Sugar tongs can be hallmarked in several different places. The marks may be found on the arms or 
on the bow (either inside or outside), or near the jaws. 
SUGAR TONGS WITH FILIGREE WORK 
This section deals with sugar tongs consisting almost entirely - with the exception of their leaf or 
Shell shaped jaws - of silver filigree. Due to the delicacy of their individual elements, they are almost 
invariably unmarked, though at a later date they were given tiny marks (in our case generally with a 
bird’s wing with the W representing the Vienna assay Office). This makes sugar tongs that can be de- 
finitely classified all the more important, like tongs with the Austrian tax stamp (Fig. 697, P 426, 
Fig. 700, p. 427, Fig. 799, p. 474). They are similar to a spoon with a filigree handle (Fig. 811, p. 479), 
which can also be traced to Austria and dated to around 1834. 
The design of one pair of tongs - again marked only with the Viennese bird’s wing - is extremely 
elaborate, with relief medallions, rosette jaws and a high oval with engraved Initials (Figs. 814-817, 
pp. 480, 481). The unusual shape of the jaws is reminiscent of a pair of tongs from the Contemporary 
literature (Fig 818 p. 481). Two pairs of tongs where the filigree work also extends to the jaws 
scarcely seem suited for practical use (Figs. 824, 825, p. 484). Several different sugar tongs- most 
of them of filigree - can be found in the catalogue of the Vienna exhibition gold and silver of 1907. 
Even in the 19th Century, experts dealt exhaustively with the working of gold and silver wire and gold 
and silver threads, and the special designations of certain products. In this context, it is particularly 
worth mentioning Karl Karmarsch, who contributed several chapters to “Prechtl’s Encyclopedia of 
Technology" on wire, wire working, wire fasteners and wire spinning. Karmarsch drew mainly on Pa 
tents while Kulmers texts (1872) in their turn are based extensively on Karmarsch. According to Kar 
marsch, the term wirework or filigree covers all product consisting mainly of wire. These include 
rings, chains, spiral springs, purls, wire ropes, clothing fasteners, needles of all kinds, fishhooks, 
wool and cotton cards, sequins, screens and other netting and fabrics of wire, filigree work, etc. 
The tremendous variety of the works of art for which wire is the material used would seem to leave 
little scope for general remarks on this subject. It is only when one examines an object in greater de 
tail that the purpose that was achieved by working the wire becomes apparent. 
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