STATE MUSEUM OF HISTORY

GOLD AND SILVER CRAFT AND JEWELLERY ART IN RUSSIA

Tatiana I. Sizova,
Head of Precious Metals section of the State Museum of History, Moscow,
Ph.D. of historical science.

Soup-tureen with a lid. Moscow, 1770

Coffee pot on a tray. Moscow, 1880s-90s

Beaker on three ball feet Moscow, late 17th — early 18th century

Salt cellar Moscow, 1740

Russian silver works and jewellery art of the Romanoff dynasty epoch was part of the material and spiritual culture of XVII-XX centuries. The precious craft items of this period — sometimes directly, but most often indirectly — reflected the processes, which provided for the originality and the meaningfulness of the cultural phenomena of this period. The Russian jewellery art of the XVII century evolved within the national tradition as a steady set of forms, styles, ornaments and technology. It reflected the aesthetic ideas and concepts of the broader layers of the society. When decorating utensils, sets, male and female jewellery wear, the craftsmen derived their inspiration from the book miniatures ornaments, from Western European engravings, from the beauty of imported oriental fabrics, from the harmony of plastic arts of white-stone and wooden carving. In the XV century Moscow became the capital of the centralised Russian state, and obtained the leading position in the jewellery production. Its peak was connected to the operations of the Kremlin workshops, especially with the Armoury Chamber, which was founded in the XVI century. In the XVII century lots of household and personal object of high artistic value, jewellery, table wear were created there. Both Russian and foreign contemporaries frequently noted, that gold and silver utensils served as major decorations of home interior together with icons. The expensive dishes displayed at the especially manufactured furniture proved the high social and financial status of the owners.

The beloved jewellery techniques of the XVII century were engraving, carving, gilding, using of blackening and of various polychrome enamels. The broad application of gemstones and semiprecious stones, pearls, amber and even glass increased the brightness and festiveness of gold and silver wear. Russian jewellery of the XVII century carries traditional ornaments, as well as derivations from the Western Europe and from Oriental countries, which proves the openness of Russian culture of that period. The reforms started by the Emperor Peter I were aimed at introducing Russia into the range of the advanced European states. The life style of the upper classes drastically changed during that period. New family and household customs and new forms of social life provoked the need for creating new household and personal items, which used to be unknown in Russia before — table laying items and new types of jewellery to match the European style outfits. Throughout different decades of the XVIII centuries these ideas were fulfilled within the styles of baroque, rococo and classicism. The epoch of Peter the Great, however, did not provide for the unique samples of jewellery art: the Emperor was much more in favour of more monumental projects, such as erection of the new capital city Saint Petersburg, for example, where the artistic life of Russia shifted.

The mid-XVIII century was marked by the simultaneous existence of the grand late baroque and the new gracious and refined rococo elements in jewellery decor. The craftsmen of that time start using the previously uncommon for Russian art materials, such as ivory, using them for certain decoration details. The European popularity of Oriental style applied art with traditional motives of Eastern Asia also got reflected in the work of Russian jewellers.

«The Brilliant Epoch of Catherine the Great»* has become one of the true peaks of Russian jewellery art. In the second half of the XVIII century it became famous because of lack of blind copying, unique combinations of new techniques and forms with traditional esthetical principles. The most characteristic feature of the XVIII century jewellery production is turning to sparkling multifaceted diamonds. Each period is noticeable in Russian jewellery art by its most popular combinations of colours and gems. In the second half of the XVII century Russian jewellers often used both bright-blue sapphires and bright-red rubies is one item, sometimes in combination with enamels. In the XVIII century faceted diamonds became the favourite stones of Russian aristocracy, and continued to hold this position through all the XIX century.

Tea-kettle Moscow, 1808-1867

Vine-set (as a rooster) Moscow, 1875-1885

The reforms of Peter the Great and his adherents forced the traditional forms of jewellery out from the aristocratic fashion to the folk culture. Popular decorations of peasant women from the Russian North made of river pearls in the XVIII — XIX centuries are perfect examples of that.

The XIX century carries the title of «the silver age of Russian jewellers». It combined the highest individual skills of an artist with production based on the latest technologies. The work of the most well-known jewellery firms, the Imperial Court purveyors Faberge, Sazikoff, Khlebnikoff, Ovchinnikoff and others was noted for its high class quality, exquisite taste and perfection of implementation. The items manufactured starting from the third quarter of the XIX century in «the new Russian style» based on the ornaments of the XVII century and even earlier periods were especially elegant and festive.

The XIX century broadened the palette of the semiprecious stones used in jewellery. Such stones as the Urals chrysolite, chrysoprase, alexandrite and garnets became more desirable. The variety of techniques also broadened. In addition to traditional carving, engraving and fine moulding the new advanced techniques of guilloche work, rolling and laminating were used together with various enamels.

Being a part of the great Russian humanistic culture, gold and silver craft and jewellery art in accordance with the artistic creative work trends reflected not just Russian history, the development and the change of styles, but also the power of the nation, the talent and characteristic features of the Russian people. The masterpieces represented at the exhibition are attractive because of their warmth, spirituality, their beautiful unique appearance.

* The Empress Catherine II the Great (1729-1796), nee Angalt-Zerbst Princess Sofia Augusta Federica Dorothy, starting from 745 — the wife of the Great Prince Pyotr (Peter) Fyodorovich (the Emperor of Russia Peter III from 1761), the Russian Empress from 1762.

Snuffbox with a medallion commemorating the birth of Great Prince Konstantin Pavlovich in 1779. St.Petersburg, 1793	Press for papres. Moscow, 1887	Bratina (loving cup), decorated with floral ornament and a linked inscription Russia, 17-th century
Inkstand with candlesticks Moscow, 1883	Writing set (as a horse stall) Petersburg, 1875	Casket Moscow, 1894
Dish of the Empress Maria Feodorovna Moscow, 1826	Platter Moscow, second half of the 18th century	Onyx tcharka (wine-tasting cup) in a silver-gilt mount Russia, 17th century
Nephrite tcharka Solvychegodsk, last quarter of the 17th century	Bowl on foot on a tray. Solvychegodsk, late 17th century	Tchara of Tsar Feodor Alexeevich Moscow, 1676-1682
Set for fruit punch (13 items) Moscow, 1908-1917	Tea and coffee service Moscow, 1908-1917	Kovsh (ladle) Moscow. 1911
Two-handled tcharka Moscow, late 17th century	Tea service with the views of Moscow. Moscow, 1884-1893	Brooch "Pink" Russia, late 19th century
Casket of Great Prince Alexey Alexandrovich Petersburg, late 19th century	Brooch "Dragonfly". Moscow, 1899-1908	Pendant brooch "Butterfly". Petersburg, last quarter of the 19th century
Table-clock Petersburg, 1880’s	Kovsh (ladle) Moscow, 1660	Small barrel (spice box) Moscow, late 17th-early 18th century
Bratina (loving cup) Second half of the 17th century	Bracelet Moscow. 1880s(?)	Quarter vessel with floral ornament Moscow, late 17th century

Salt cellar Moscow, 1740	Beaker with a portrait of Empress Elizabeth I Russia, mid 18th century	Tankard St. Petersburg, early 20th century	Suleya Russia, 17th century
Chalice (Potir) Moscow, 1795	Cruet-stand Moscow, 1758	Glass of Emperor Nicholas II Petersburg, 1898	Ciborium Moscow, 1788
Beaker Moscow, 1690-91	Tankard. Moscow, 1877.	Table-bell Petersburg, 1880s-90s	Coconut cup Moscow, second half of the 17th century