STATE MUSEUM OF HISTORY

JEWELLERY MASTERPIECES OF RUSSIN CRAFTSMEN. XIX — EARLY XX CENTURIES.

Galina G. Smorodinova,
The Senior Expert of the State Museum of History, Moscow

Panagia (pectoral image) «The Crucifixion with bystandings»

Gold and silver craft is a remarkable type of art, the roots of which date back into the old ancient times. The beauty and the noble look of precious metals, the skills of ancient craftsmen, who transformed them into various forms decorated with figures, ornaments, precious stones, colourful enamels — all this has turned the jewellery items into real objects of art.

The tradition of Russian jewellery art dates back to thousand years ago, it has been through periods of flourishing and of oblivion, of immaturity and of high professionalism. The masters of gold and silver work were capable of using all the techniques of processing the precious metals, they could mould figures and sculptures, spin out the thinnest wires — filigree for exquisite open-work or for intricate ornaments, they were capable of fine engraving, of using blackening tint, decorating the items with gemstones and colourful enamels.

Panagia (pectoral image) «The Mother of God of the Sign with selected Saints».

The jewellers produced a broad variety of items, both clerical — liturgy sets, icon frameworks, diptychs, crosses, panagias; and civic — jewellery decorations, utensils, toilette items.

Up to mid-Х1Х century Russian aristocracy and nobility preferred to order and purchase jewellery in Europe — in France, Germany, Britain. Scarce Russian jewellers could not provide enough production to satisfy the demand of the grand Russian Imperial Court. That is how the famous XVIII century jeweller I. Posiet wrote about its traditions: «Russian dames wear great amounts of diamonds. Even on minor casual occasions they would not leave their homes without precious gear».

The first jewellery workshops and firms appeared in Moscow and in St.-Petersburg by ХУ111 — early Х1Хcenturies, and by mid-Х1Х their number has grown substantially, being a sign of jewellery industry emerging, which afterwards went into its boom. At the first World Industries and Arts Exhibition in London in 1851 Russia amazed the Europeans. Experts had to acknowledge — with great surprise — that Russian exhibits were unique products of high quality and noble exquisite taste. «Crowds of public rushed to observe the malachite, jasper, mosaic, silver and diamonds», which allowed to state that «we are not blind copyists of the French style, and finally the New Age of Russian style has come for all the our art».

Panagia (pectoral image) «The Mother of God of the Sign»

The World Exhibitions of 1851-1900 in Paris, London, Philadelphia, Chicago, Moscow, St.-Petersburg and Nizhny Novgorod proved, that Russia has got master jewellers of high class. The presented work demonstrated great selection of samples, which amazed by their noble simplicity, pure taste and brilliant implementation. The fineness of precious stones riveting was marked as a special Russian feature, which was appreciated more than the French riveting, according to A. Holstrem, Chief Jeweller of Carl Faberge company. Gold and silver works were developing at such rapid paste, that the book «World Exhibitions and Russian Exhibits» (1886, 49) stated: «There are industries, which have been improved by Russians and carry an imprint of the country, that couldn’t be possibly imitated by foreigners. Exquisite Russian silver jewellery is one of them.» This is what’s been written about jewellery presented at the 1882 Exhibition: «Russians may already not be using foreign drawings and prototypes, «but the foreigners could borrow some from the Russians».

Earrings. Moscow, second half of the 17th century.

The jewellery items of the second half of the Х1Х and of early ХХ centuries demonstrated the complexity of the styles, fast shifts between various tastes and fashion trends. They reflected the inclination towards new, non-traditional shapes and ornaments, amazed by the skills of including figurative motives, flowers, birds or insects into traditional forms of earrings, pendulums and bracelets. Such aesthetics were extremely valued, they proved the high social status and wealth. That is why the artists carefully painted the jewellery on the portraits, and jewellery was often mentioned in memoirs.

Earrings Russia, first quarter of the 19th century

Special attention was paid to the precious stones jewellery during that period, and diamonds remained the major stones. According to F. Birbaum memoir «Diamonds and coloured stones in 1860-ies served as a complement to the gold; then later items made totally of diamonds attached to silver appeared, with sloping rivets providing for visual augmentation of the stones. But silver darkened quickly, so later the jewellers switched to a less noticeable frames with the minimum gauge. The favourite motives were flower branches, spikes, skilfully tied bows. Petals and leaves were sculptured through forging and riveting of diamonds. That was the best period of diamond works».

Pectoral cross Western Europe, 18th century

The jewellers seldom stopped after creating just one piece. More often they designed and implemented jewellery fittings and sets. Some items had very sophisticated design, so that a brooch could be easily transformed into a pendulum or a pendant, into a part of a bracelet or a ring. The colour of the stones had to match the colour of the dress: pearls with diamonds or rubies with diamonds for pink fabrics, sapphires with diamonds for blue ones.

The commander of the Imperial yacht «Standard» belonging to the Emperor Nicholas II wrote in his memoir: «…Dinner was served at 8:00 and everyone got dressed up. Her Majesty appeared in a mass of precious stones, and that variety changed from day to day; if Her Majesty wore diamonds, they were everywhere — on her head in the diadem, on her hands in rings and bracelets, and in various brooches. If she wore emeralds, they were everywhere, too; same with sapphires and rubies».

Pendant brooch & Earrings Western Europe, 18th century

The «Stock Exchange News» of September 2, 1913 wrote: «One cannot see in any Western capital such fittings of precious stones and pearls on their high society ladies, as the grand dames of St.-Petersburg have».

Strange and fascinating charm of the insect world attracted some of the jewellers. Brooches, pendants and earrings in the forms of butterflies, dragonflies, bugs, etc. became very popular. The «Otechestvennye Zapiski» magazine of November 1857 reported about the exhibition in Bern: «It would require a full course of lectures on botanical sciences, ornithology and natural history in general to tell in all detail about the variety of jewellery presented. The charming items demonstrate the plants and insects that either unfold, or interlace in the most peculiar ways».

Small casket Solvychegodsk, last quarter of the 17th century

He best jewellery In Moscow and St.-Petersburg was that of such producers as C. Faberge, K. Bolin, D. Chichelev, F. Kekhlya, A. Ivanov, O. Krumbyugel, I. Morozov, A. Tillander, K. Ghan, F. Fuld, B. Fuld, V. Adler.

The most famous workshop in Moscow was the one founded by the 2 Guild merchant I. Chichelev. It was founded in 1815, and his inheritors continued the family business up to 1916). His gold jewellery with diamonds, pearls, gemstones and enamels were granted some of the highest awards at the exhibitions of 1862 in London, of 1865 in Moscow, of 1867 in Paris, of 1870 in St.-Petersburg, of 1873 in Vienna, of 1876 in Philadelphia, of 1882 in Moscow. The most valuable of his awards was the status the Purveyor of the Russian Imperial Court. He was also the Royal Purveyor of the Italian King Victor Emmanuel and of the Austrian Emperor Francs-Joseph.

Brooch «Arrow» Moscow, second half of the 19th century

At the exhibitions Chichelev was able to demonstrate in full brilliance the amazing artwork — Russian style diadems, one was of the finest oak leaves with sapphires, pearls and small rubies with elegant panache scattered with numerous tiny diamonds (the King of Italy purchased that), and the other one was of roses with numerous buds. During Moscow exhibition of 1882 he displayed a medallion, bracelets in the form of sleeve-cuffs, an under-cross and a necklace in the form of a Russian style cross with enamels and precious stones.

The only Chichelev-labelled jewellery known to remain in Russia are stored in the collection of the State Museum of History. They are: a gold medallion-brooch and a bracelet, displayed at the exhibit. The combination of precious stone, the mat glow of pearls, gold open-work ornament and thin petals of multicoloured enamel creates a fascinating picturesque brilliance and add to the special festiveness of the piece. Based on the perfection of Chichelev’s work the contemporaries compared it with that of the best jewellers of Europe (France, Italy, Scandinavia), and he provided a brilliant competition to them because of the «fineness of his open-work with precious stones».

Wedding crown for the bride and wedding crown for the groom

The work of the jewellery factory headed by C. Faberge have become a peak of the jewellery art in Russia. They were special for their distinct grace and polish, for their luxurious materials, for the high perfection of implementation. They had their own inimitable style, which has become world-famous as the «Faberge style». The following words of Carl Faberge can perfectly characterise his work: «You can find a ready-made 1.5 million Rubbles worth necklace at Tiffany’s or at Cartier’s… But they are retailers, not artists. As for me, I have little interest in a piece highly priced only because of the tremendous number of diamonds and pearls in it». The pieces by Faberge have become true masterpieces of art, and some of them are considered priceless all over the world.

Each year started out in St.-Petersburg with almost daily balls and masquerades. The high society was literally brilliant, sparkling with expensive silk fabrics and waterfalls of precious stones worn by the ladies — on their hands, necks, hair. The British Ambassador Sir Loftus described that as follows: «The Imperial Court amazes with its splendour, with dreamlike glitter of precious stones, and the grandeur and brilliance exceed anything I have ever seen in other countries».

Pectoral cross. Russia, first half of the 19th century	Pectoral cross on a chain St. Petersburg, first half of the 19th century	Pectoral cross Kiev, late 17th century — early 18th century	Panagia (pectoral image) "The Resurrection" Moscow or St.Peterburg, mid-18th century

Earrings Northern Russia, 17th century	Earrings Russia, 17th-19th centuries	Earrings Russia, 17th century
Pendant brooch Russia, second half of the 18th century	Cigarette case. Petersburg, 1895-1899
Pendant brooch Russia, second half of the 18th century	Earrings Russia, 17th century