Judge auction house Res Raritas Sergei Koronevsky advises what to buy at auctions Russian silver and porcelain, and reveals the secrets of Russian enamels
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Much about the subject can tell estimate. Low price often indicates that the auction house experts doubt its authenticity. For example, if a small bucket in the neo-Russian style (one of the most popular subjects of the Russian market) is usually estimated at $ 5-7 thousand, the existence of several such things in a set of $ 9.10 per thousand should be alerted. Most likely, before you replica, modern pastiche products late XIX - early XX century.
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The value of an object may affect any, even the most insignificant, according to the nonprofessional, detail. The best way to see the thing live, before making a buying decision. In any case, you must carefully read the description in the catalog. So, if you specify that the silverware placed two brands (eg, one on the handle, the second on a stand), the case of composite objects. Things compiled "selection" of two different, non-native parts are usually cheaper and less valued by specialists. So if you offer an inexpensive work of Fyodor Rukerta, where there is the stamp of the company Ovchinnikov on a pedestal, is an opportunity to guard.
Secrets Faberge
The simpler the better
Products Carl Faberge, so demand on the world market not only because of the fact that their author was the supplier of the imperial court. Their main qualities - the highest level of performance, impeccable taste and conciseness. Famous jeweler guided by the principle of "nothing more". Classic Photo Frame Faberge firm - a silver surface covered with guilloche enamel, and two simple outline. Sometimes the enamel over the top of the frame decorated with ornaments of silver modest "corners", and placed at the bottom of "rosettes" of diamonds.
In contrast, modern poddelschiki, especially the American masters, often overload of adornments, uncharacteristic for Faberge. Especially suspicious things with obsessive imperial decor: the abundance of double-headed eagles and diamonds - one of the signs of counterfeit products or those that were later to "supplement". It is believed that the symbols of imperial Russia will make work more attractive for Russian buyers, as it is perceived more than confirmation that the thing had once belonged to the royal family.
Not a single stamp ...
Stamp known artist or company of Carl Faberge by itself means nothing. First, it is often put on the fake stuff. Secondly, most importantly the quality of the object and its preservation. Thus, "polusedennaya" spoon with the stigma of Faberge by definition can not be very expensive.
Family service
Very popular with collectors from Russia objects of so-called "Guriev the service. Initially, the ensemble (1809-1816) in the Empire style was called "The service featuring Russian costumes, but in 1924 was named" Gurevskiy "- in honor of managing the Cabinet of His Imperial Majesty Count DA Gurieva, in charge of the porcelain factory at the beginning of XIX century. Later, at the end of XIX century, was released a few additional items. But the mere fact that plates of this ensemble appear almost every auction, already suspicious. One of the hallmarks of true things - its attrition. Items from this service was used in the home, they were not only decorative element. So perfect safety - not the main advantage.
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is particularly suspicious things with obsessive imperial decor: the abundance of double-headed eagles and diamonds - one of the signs of counterfeit products or those that were later to "supplement". It is believed that the symbols of imperial Russia will make work more attractive for Russian buyers, as it is perceived more than confirmation that the thing had once belonged to the royal family.
I saw how it - just was not led. Smart people dissuaded.
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I saw something like - just was not led. Smart people dissuaded.
We have all seen, in a separate directory of one of two well-known auctions, and even there, many selling out ... Surprise buyers and the latter-day collectors, do not delved into the literature, such as the preparation before spending that kind of money? Outrageous! And now demonstrate to their friends in their palaces, and those running to buy the same ....
__________________ "Говорить на тему об искусстве так же бесполезно, как говорить на тему о любви." Н. Фешин.
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History of the Odessa offices of the Firm "Carl Faberge
One of the least studied aspects of the activities of the Firm "Carl Faberge" - a work shop and workshops of the company in Odessa. Odessa jewelers little known not only to the general public, but also professionals. On the pages of the largest in our country guide seals domestic jewelers M.M.Postnikovoy-Loseva find only 20 stamps Odessa jewelers, of which 5 were working before the abolition of serfdom.
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Meanwhile, jewelry in Odessa in the beginning of this century has been on the rise. Directory "Odessa" (13) 1893 in the "Golden products and jewelers' points to 15 of masters, as well as 20 master watchmakers, among whom were goldsmiths.
In 1904 the number of people who have chosen promyslovatye evidence on a group of "clock, gold, silver and diamond products, has named 48 people (7). Before the First World War there is rapid growth in the number of jewelers: in 1912, jewelry shops and stores is 62 (10), a year - 84 (11), and in 1914 had 113 (12), and in 1914 the first occurrence of a German jeweler firm Mayshofer I., Ko. Even during the war, in 1917 in "gold and silver" book "All Odessa" said 35 companies, and in "Diamonds" -20, including "K. Faberge.
Odessa in the beginning of the century was a major trade and cultural center of Russia. In 1897 the city population was equal to 403, and before the First World War - more than 600 thousand people. During this period the population of Odessa was the fourth place in Russia Empire, giving the two capitals and Warsaw, but ahead of Riga and Kiev.
Odessa assay control in 1911 brought the treasury 172 thousand of income, (Moscow Administration - 1353 TR, Petersburg - 436 TR, Warsaw - 406 tr). Growth assay income from Odessa to the level in 1910 was 28%(25). In Odessa held the lion's share of Russian exports of gold and silver metallic-thread production. Thus, in 1911 through the port of Odessa exported abroad metallic-thread products 4044 pounds of the amount of 489 thousand rubles (5).
Carl Faberge could not help but draw attention to Odessa. He opened an office here, because one of the laws of capitalist production is the continuous expansion of the market. Should critically assess the date of the Odessa branch of Faberge, which is given in the literature - 1890. References in Odessa for the years 1890-1899, even in the most detailed, among jewelers, gold and silversmiths, the Faberge name (or its representatives) are not met. It is quite possible that before 1900 the company and its salesmen carried out in Odessa, one-time deal. So it was no accident and no mistake the date of opening of the Odessa Branch (1900 year) in 1910 in a memorandum to the Cabinet of His Imperial Majesty Eugene Faberge (14).
"South-Russian Almanac" Yu Sandomir, 1900 for the first time gives the advertising: "K. Faberge. Courtier manufacturer of gold, silver and diamond products. Odessa. Deribasivska street, house Mendelevich. By the end of 1899 at the corner of Deribasovskaya and Preobrazhenskaya street was built a huge, handsome "Passage" brothers Mendelevich - the pride of Commerce Odessa. There is no evidence that the store of Faberge in 1900, was in the "Passage", which is listed Deribasovskoy street as the house number 33. All subsequent references to time give the address of the shop Faberge's Deribasovskaya, 31. In the book by Kenneth Snowman is a photograph of the store, clearly visible in the window of large silver vase (vase resembling the style of the exhibition at Elaginoostrovsky Faberge in 1989).
House number 31 on the street belonged Deribasovskoy A. Brodsky (1). The same house was located workshop and store in Odessa, a well-known jeweler and watchmaker, merchant guilds I Joseph Barzhanskogo (this brand which is known in the museums of the country), and in 1917 in the same house was located store of Japanese products "with a surprising title Kjahta and Louvre "(8).
Generally Deribasovskaya street "lucky" to jewelers. In the directory "All commercial and industrial Odessa" in 1914 among the 44 addresses of jewelry shops and stores - 18 in Deribasovskoy street. The question of "How to get to Deribasovskaya?" In the beginning of the century was relevant to all potential buyers of products Odessa jewelers.
In Odessa State historical archives contain business office of mayor of Odessa "On the resolution of the trade house of Faberge K. opening factories gold and silver wares in the village number 1 to Tiraspol Str." Business was started April 1, 1903. Petition governor by proxy of the Firm "K. Faberge. Moscow signed Vladimir Drugova and Ivan Anthony. Both personality very notable "hereditary honorary citizen Ivan M. Anthony, wrote in 1915 Agathon Faberge, is employed by the court jeweler Faberge in 1899, as head of the jewelry department store in St. Petersburg since 1906, he is constantly performing instructions and orders given by the company by the Cabinet of His Imperial Majesty "(17).
As Vladimir Drugova, he later opened their own business in Odessa "B. Drugov and Co. ". In 1911, the owner of the workshop was Odessa B. Other (11; mistakenly written "AN Other"). Known ads: "Buying pearls and diamonds" B. another and to "Odessa, Deribassovskaya 21" (10). Unfortunately, in reference MM Postnikova-Losev (15) stigma V. Drugova no. A "business Drugova", appears to have been considerable.
The petitioners have sought permission, but with the condition "device of the two fans and five air vents. Obviously, the case of labor protection in Odessa was delivered strictly. The case revealed that the studio premises occupied four rooms, in addition to the apartment manager. Received permission to increase the number of workers up to 30 people (at the beginning - not more than 20 people). He gave the go-ahead on the suitability of premises architect L. Vlodek known in Odessa as a builder of "Passage" Mendelevich.
The final permission to open a factory at: Tiraspol, 1 (House IK Котронео), was obtained relatively quickly, almost a year later, on Feb. 26, 1904, with the condition "that all workers were provided with a set of pamphlets and the number of working hours is not exceeded the legal ten hours a day, for violation of which, independently bringing the perpetrators to justice, the factory will be immediately closed by order of administration "(16).
Discipline was strict at the factory (one of the components of the success of the company?). In the "Internal Rules of the factory gold and silver articles of the Firm" K. Faberge. "Odessa" (17) are noteworthy items:
"It is forbidden for men to deal with rude and obscene words to working in a factory female sex and vice versa (? - VS), or to talk among themselves indecent." Hence we see that the women worked in the factory. Priority in this regard. Who arrogated to himself the Kiev silversmith Marshak, therefore, questionable. At the same rules "forbidden apprentices: the breach of silence at work noise, shouting, swearing, quarreling and fighting, smoking tobacco indoors in factories in the time of telling each other jokes, or gather in groups to negotiate without the need for (almost impossible to Odessa requirement, given the popularity of Odessa jokes - VS).
Signatory to the Regulation 23 November 1903 factory manager V. Lundel (Victor Lundel).
Unfortunately, a large literature on Faberge and his firm, no samples are hallmarks of Odessa branch. It is clear that a significant part of the turnover of the Odessa company formed department store in Moscow and St. Petersburg offices, as well as in Kiev (in the period of the last in 1905-1910.).
The first manager of the Odessa branch (part-time) was, apparently, AA Bove (Bo). In any case, he Faberge in 1901, wrote: "My friend Allan A. Bo is my assistant and chief organizer - has established itself over the 14 years at The management of all of my affairs for the Moscow factory and offices in Moscow and Odessa" (18 ).
Kenneth Snowman (20) gives the names of Governors Odessa branch: Alan Gibson (Moscow Englishman) and Ivan Antonio, then George Piggot (Englishman Moscow), Vladimir Another, George Kral (Czech-born), and after his death - Zinoviev.
Indeed, in the directory "All Odessa in 1912 representative offices Faberge named GA Piggot, AB 1913 and 1914 - GK Kralj. Manager Kiev office was known to us V. friend, who after the closure of the office came in 1911 (?) In Odessa, opening their own businesses.
Odessa store in charge (at Snoumanu): Brockmann (German, St. Petersburg), G. Lundel (died 1905), G. Nyukkanen, then Filippov. At one time the manager was Vladimir Nikolaev.
Odessa plant, as indicated by K. Snowman, manufactures small jewelry and silverware. Of the above names are known products with the stamps and G. G. Nyukkanena Lundelya (26). Unknown names goldsmith, who worked at the Odessa branch of the firm. One name called in 1916, Carl Faberge. He asked to be relieved from military service Komalenkova - talented, very useful for me, the artist was sick burchatkoy lung, for which reason I have moved temporarily to recuperate in the south of Odessa in my office "(17, sheet 55; a petition on behalf of Faberge signed his son, Agathon).
1916 was difficult for the Odessa branch of the firm. In another petition, the Office of the Faberge Imperial Court states: "In my office in Odessa peacetime worked more than 35 artists, at this time have only three professionals. If these persons will be called (in the army VS), it would have to close my Odessa branch and pay by the end of the war high house rent contract "(21, sheet 40).
In the case of "deferred recruitment for military service" stated that "Komalenkov Ermilovich Ivan, a peasant, the year of Appeal 1913 (hence the birth year 1893 (VS), a native of County Tarusa Kaluga Province., Graduated from Central School of Baron Stieglitz in St. Petersburg, Master enamel (21, sheet 31). Faberge stresses that the exemption from service of these individuals (of whom Komalenkov) "essential" (sheet 35). In the case referred to, "indicates that individuals are the best performers in his studio "(sheet 33). That is the assessment of the jeweler, painter, master enamel Ivan Komalenkova.
Somewhat unexpectedly, typically in Odessa, it turns out the names of artists who worked with Faberge. On the pages of Odessa guides those years found such ads: "Professional Jeweler N. Chistyakov. Odessa, the former for many years as an apprentice Faberge and master teacher of art about the Imperial Strogonovskom School of Industrial Art in Moscow, taking orders and repairs to all kinds of jewelry, gold, engraved, engraving and enamel work. And also perform all sorts of work for the offerings: badges, enamel, monograms and faksimile. Deribassovskaya, 17 (2). Or more simply: "Cheka-Engraving and jeweler JF Semyonov, ex. master FABERGE. Odessa, Catherine's 20, the angle of the Greek "(2, pp. 405). Fabergé name in the text of the ad typeset in large letters, and immediately catches the eye.
Vanity masters knows no measure. Odessey Nikulin gives a kind of advertising: "Jeweler PA Nikulin, many years spent the first master in the Faberge firm. With a huge practice in that gives me the opportunity to understand the customer and his desire, was doing all kinds of work, jewelry and engraving, engraved on the newest features and its own foreign artist drawings. Agree also repairs and alterations of old things. Odessa Deribasovskaya, 13, in the yard, 2nd floor (6). How seriously should apply to this "first master." His name, many researchers have hardly heard of Faberge.
In the same "Russian Baedeker for the 1912-1913 year, already referred to N. Chistyakov, again attestuya a multi-year apprentice Faberge, said that" orders gentlemen visitors, are executed in a very short time (6, pp. 131 ), thus focusing on the holiday demand. Such self-promotion with the name Faberge shows us that the famous "children of Lieutenant Schmidt" is not by chance came from Odessa. But seriously, there was a "phenomenon of Faberge, whose name has become a synonym for life. It is no accident the Latin root "Faber" means "master". The name Faberge is identified the highest degree of jewelry.
The story of Odessa jewelers would be incomplete if it did not mention the article by the St. Petersburg magazine "Jeweler" N. Lyashenko number 2 for 1912 (22).
The author notes the low technical readiness "frame Odessa craftsmen and jewelers, the absence of Odessa (in contrast to St. Petersburg and Moscow) and technical drawing school, preparing students and apprentices in gold and silver case. "However, continued Liashenko, apprentices could attend schools in the capital, but since most of them Jews - access to them in the capital account is closed and its preparatory experience can not be conducted in poorly equipped workshops.
"Lack of knowledge can be explained by the fact that in Odessa, only 7-8 people master silversmiths. They are able to perform only the most basic items: spoons and forks, while the Moscow masters perform the market, highly artistic things and can easily compete with our. Is not this the answer to why so few items left Odessa jewelers?
"Odessa masters, continues Liashenko, working Sc. "Haberdashery goods, marketed by them to the Caucasus and Crimea, have complained that in the absence of hull apprentices, they are forced to cut production, despite the fact that overwhelmed with orders.
Recently, in Odessa, there is the development of precious works of art, such as pendants, necklaces, lockets, bracelets, pictures of which the master will receive one of Switzerland (eg, master Zubkis), the other from Paris.
From the interviews with the artists that produce such products (J. Kogan, Purgalin, Shargorodskii, Shenderovich, etc.), I learned that this kind of artistic works, there is significant demand and that they could compete with similar products of foreign activity. But again, for lack of a sufficient number of local craftsmen, who know how to operate such products, they have invited artists from outside and even from abroad.
The author finds the need to open in the Odessa Technical School for the preparation of jewelers.
Unfortunately, at present in the Odessa regional art museum collections are no products Faberge, although much of it reminiscent of an outstanding jeweler. Looking at pictures of LF Lagorio, with whom he had known Faberge, remember that a relative of the painter, managing the education department of the Ministry of Trade and Industry, A. E. Lagorio, was a member of the jury on the "drawing competition for jewelry production behalf of the court jeweler to the . Faberge "in 1913. Looking at paintings MP Klodt, I remember another Klodt, Nikolai Alexandrovich, the artist who worked in the Moscow office of Faberge, the teacher of the School of Painting, Sculpture and Architecture.
Waiting for his research as this page is a fascinating history of the company as: "from Odessa Desnitskaya - the wife of King of Siam and the court jeweler Faberge. The fact that the firm of Faberge was the first Russian company in Siam and the order of Gdańsk King met a lot of products possible and wedding gifts from the Prince from Odessa Desnitsoky. In any case, still the pride of the Royal Museum in Bangkok is a huge jade Buddha, made by jewelers Faberge. http://www.liveinternet.ru/users/la_.../post73991196/
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Carl Faberge was born 18 (30) May 1846 in St. Petersburg. His father, Gustav Faberge, came from a kind of the Huguenots, was a modest jeweler, who had his business since 1841 In 1860, fourteen-Carl Faberge, along with his parents moved to Dresden. From there, his father sent him on a trip to Europe, he stops for a longer time in Frankfurt, Florence and Paris. Returning to St. Petersburg in 1866, Faberge - now a full-fledged master - working together with Hiskiasom Pendino, Augustus Holmstremom and William Reimer. They previously worked at his father. In 1868, a Finnish company joins jeweler Eric Colin, and in 1872 became the owner of Carl Faberge's workshop of his father. Colin - his first major artist.
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The works of Faberge in the period between 1866 and 1885. - For us a sort of white spots. Franz Bierbaum (a famous jeweler home) describes the early products of the company: "clumsy gold bangles, fashionable at the time, brooches and lockets with chains and buckles ... They were decorated with stones and enamel ... their designs can still be seen on old pictures of the firm. "
These descriptions are similar products known to us by Gustav Faberge. Recently found an album with thumbnail sketches of jewelry last three decades of the XIX century allows partially fill the previous gaps. Based on these sketches, Faberge appears closely related to the main direction of modern art in France. The sketches of his designs of flower bouquets adorned with diamonds, and sometimes - and the enamel, curly strands of ivy - all are reminiscent of the famous French jewelers: brothers Masse, J. Coulomb, A. Massena, etc. Lush on tapes brooches, pendants with diamonds, tied ribbons, necklaces and bracelets - all this done white gouache on black paper, and nothing here can not see the genius of Faberge. Sometimes slips some ease, but it is still firmly rooted in the common European tradition - braided bracelet with diamonds and rubies, shuttle to the style of Louis XV and necklaces with pendants. Some of the more daring designs signed by Agathon, brother Carl Faberge: mainly a tiara with diamonds and emeralds and a number of fairly elaborate necklaces. "His favorite motifs were twigs with flowers and spikes of wheat, and artfully tied ribbons ... It was the best period of work with diamonds. Works of this period are characterized by a rich design, visible even from a distance. In fashion tiaras were large, small Cranes and plyumazhnye necklace in the form of collars, breastplates corsage ornaments, buckles and wide belt. "
Virtually none of this, traditional, period Faberge not come to our time. Accounts book of the Cabinet of His Imperial Majesty indicate competition for the Faberge imperial orders to other more well-known jewelers, such as Julius Buti, Edward Bolin, Friedrich Kehl and Leopold Tseftingen. Initially, its share in commissions from the court was insignificant, but over the years it grew, Faberge is increasingly mentioned in the books of Court. He managed to quickly win the highest court officials, providing free services to assess, repair and restoration of the jewelry in the Hermitage. Free access to the exhibits allowed to carefully study the techniques of old jewelry, stylistic features of the products made in different epochs.
Among the earliest documented works by Faberge brothers Colin and Eric have been made by them in 1885, a copy of "Kerch gold" - objects of luxury hoard of gold jewelry IV century, found during excavations in the area of Kerch. "Making this work required not only special care and high-fidelity, but also a return to long-forgotten techniques and methods of work. Brothers Faberge coped brilliantly with all the difficulties and received as a result of an order for a series of copies of Kerch antiquities. "
Designed Faberge items during the work Colin slightly different from what was done in the 70 years in other European centers of jewelry art. His commitment antikvarskim tastes pronounced in rare extant things of this period, including the golden goblets and objects in the Renaissance style.
Period of Agathon Faberge (1882-1895)
In 1882, a 20-year-old Agathon Faberge joined his brother Charles in St. Petersburg and worked with him over ten years. This decade was destined to become the wealthiest and most creative period of the company. The quality of things made in these years, remained unsurpassed. It is believed that the interaction between the brothers - Charles, with his passion for classic style, and more lively and energetic creative Agathon - increased to joining the firm of its second chief master, the brilliant Michael Perkhin who worked from 1885 to 1903. Contributed to the isolation of about 1885 g . Faberge art as a distinctive style in the applied arts and jewelry. It was during this decade-the first time there is a majority "of themes and subjects" Faberge: created for the royal family and the imperial court, Easter eggs, animal figurines, flowers, objets de virtu - "useful items" - and other articles of gems or precious metals. Bierbaum, in his memoirs wrote that the name of Agathon Faberge firm began a change: "... the character of a lively and impressionable, he sought and found inspiration everywhere in antiquity, the art of the East, which had not yet been studied, or nature. Surviving his drawings - a certificate of permanent and ongoing search. Often you can meet up to a dozen developments one subject. "
Both brothers Faberge traveled a lot. Charles received the knowledge of Western styles from the source in Dresden, Frankfurt, Florence and Paris. But it was home and he and the other to find a wealth of existing sources and inspiration - the Hermitage. The Hermitage, with its gallery of jewelry became a school for jewelers Faberge. After the Kerch collections they examined all the evidence submitted there era, and especially the age of Elizabeth and Catherine II. Many of the jewelry and gold pieces have been copied with great precision, and then were filled with new songs, using these models as a guide. The best proof of perfection achieved in these works, are the repeated suggestions by some foreign antique dealers to execute a number of works, but without imposing a hallmark and name of Faberge. Of course, these proposals were rejected. Tracks kept the style of past centuries, but they are attached to the modern subjects ... Articles XVIII century in the collections of the Hermitage encouraged to apply draughty enamel on engraved or giloshinirovannom gold and silver. "
By the 90 th year Faberge bypassed its competitors to "big things" and silver. Bolin maintains its lead in jewelry (only in Moscow, its turnover in 1896 amounted to 500 thousand rubles). Nevertheless, it is a necklace of pearls and diamonds Faberge cost 166 500 rubles was chosen in 1894 as crown prince Nicholas wedding present to his future wife, Princess Alix of Hesse-Darmstadt. In turn, the parents of Nicholas crowned Faberge paid the highest price, which he has ever managed to get 250 thousand rubles - for another necklace, designed as a gift for their future daughter. In 1896 the turnover of the Moscow branch of Faberge, founded in 1887 in order to cope with the growing demand, has reached 400 thousand rubles. The major activities of the company here is large expensive silver sets and table decorations at the cost of 50 thousand rubles. Sketches of the service in the style of Louis XVI, commissioned in 1894 by Alexander III for the Crown Prince, and a monumental service to the Empire style with swans and sphinxes, made for the wedding of Grand Duchess Olga Alexandrovna, in 1908, preserved in the Hermitage and well documented.
Important orders have been made to celebrate the coronation of Nicholas II in 1896, Travels of the imperial family in Denmark and in London were a Faberge excellent source of orders, as many of these were prepared to travel gifts made in his workshop. Notable successes firms associated with awards at the All-Russia exhibition in Nizhny Novgorod and the North exhibition in Stockholm. The culmination of this period was the construction of new homes company on Bolshaya Morskaya Street, 24, and the participation of Faberge in the World Exhibition in Paris.
Era Francois Bierbaum (1895-1917)
Swiss jeweler Franz P. Bierbaum joined by Faberge in 1893, and after the death of Agathon Faberge in 1895, he became chief designer of the firm. He was a great cutter, a specialist in enamel technique and remarkable features. His arrival coincided with a reorientation of Faberge in the style of Art Nouveau, and Art Nouveau, and the gradual replacement of the works of the firm style of Louis XV, or, as it was also called "cock's style," which was supposed to give way to more classic styles - the style of Louis XVI and Empire . The role of F. Bierbaum was supposed to be very high: according to him, he created designs of most of Easter eggs made to order the Royal Court after 1900: "Such eggs was carried out 50-60 pieces, of which I had to compose at least a good half. This work was not easy, if we take into account that the subjects did not have to be repeated, and egg-shaped form is required. "
By the beginning of the century it was the most significant of Faberge in its industry in Russia. We had to open new stand-alone shops, which worked on drawings and models of the firm. After the success at the Paris exhibition of Faberge in 1900 got wide international acclaim, for it had been opened all the doors. His shop in London has become a meeting place for the top of the English society at the time of Edward VII. Its shops and showrooms attracted hundreds of Russian aristocrats.
In 1900, the years of Faberge is simply overwhelmed with orders. The ten years between 1907 and 1917. has only London has sold over 10 thousand items. Customers of America moor their yachts off the coast of the Neva. Three sons Faberge - Eugene, Agathon and Alexander - working as artists side by side with Bierbaum. Three hundred artists working in St. Petersburg and two hundred - in Moscow. Orders are so many that some of them even passed the masters, not mediocre, not working in the firm. Worldwide, the company sold more than two hundred thousand products.
The period of Henrik Vigstrema, the last foreman Faberge (1903-1917 gg.) Lacks the brightness and the ingenuity of his predecessor. Disappears riot of lines and colors of Art Nouveau, designed by Faberge, becoming drier and classicality. And, although the quality is excellent, the very use of the current work of Faberge details of pre-imposes on them the imprint of industrial era. News - this is typical for the company - appear regularly every year. Some products are Faberge pronounced geometric design and how to herald the approach of a new emerging style of Art Deco.
Lavish celebrations to mark the 300 anniversary of the Romanov dynasty that had led to the apotheosis of the dynasty, to signify the last Faberge rapid surge in the number of orders. It designs and manufactures a multitude of objects and jewelry with the logo of the Romanov dynasty and the dates 1613-1913 gg., Including currently held in the Kremlin Easter Egg 300 th anniversary of the Romanov dynasty. "The documents of the Cabinet of HIH contains information about small jewelry: badges, pins, brooches.
With the announcement of war in 1914, the era Faberge, which was held for him under the sign of imperial largesse and patronage, should have been completed. After the euphoria of the first major victory came defeat and loss, all fell on hard times. For these years, characterized by two Faberge Easter Eggs (1915), their design is found to display the activities of the Empress and her daughters in the Red Cross.
Faberge created a number of cigarette cases, glasses, cups, mugs, wine, badges for rewarding the soldiers who participated in the battles. Since September 1915, the Faberge workshops began in the mobilization of feeling a lack of skilled craftsmen. He wrote several letters to the Office of the Ministry of the Imperial Court to be relieved from recruiting 23 of its employees, including Kremleva and Petukhov - two of the most skilled craftsmen.
Increasing number of pending orders. The Moscow branch of the firm carrying out work on silver, took over the production of hand grenades and shells for artillery shells. In Odessa, the 35 artists in the department of the company were only specialists.
November 6, 1916 by Faberge - as a precautionary measure in difficult times - organized a joint stock company with Averkiyeva, Bauer, Byzova and Marchetti. These persons are now owned by 21 share a common value of 90 thousand rubles, 548 shares of Faberge's left for themselves, selecting from 40 shares to each of his sons, except Agathon, and one - mostly masters: Anthony, Bierbaum, Mayer, and Zhyuve, which corresponded to a nested their assets in 700 thousand rubles.
1917 brought the collapse of the old world: followed the February Revolution, the king's abdication on March 15, the arrest of the royal family and, finally, the October Revolution. The company fell into the hands of so-called "Committee of Association of employees and the company Faberge" and continued to act in that capacity until November 1918 in the end of 1917, Carl Faberge, closed her house on Bolshaya Morskaya Street, confided to him the contents of the Director of the Hermitage. He moved to Riga, where in Berlin, next to Homburg for Tannase, then to Wiesbaden, where the sick. In June 1920 his wife Aug. Bogdanovna Jacobs (daughter of the court master carpenter) and the eldest son Eugene took him to Lausanne. Here he died on September 24, 1920, and at his request had been burned.
Design and style
Initially creative person firm is deeply rooted historicism. Karl Agathon and it took ten years to release the company from the shackles of direct imitation and find your own style. When Erica Kolin "Faberge" fully absorbed the old - "antique" - styles. When Agathon and Michael Perkhin firm prefers the style of Louis XV. But the inquisitive mind of family members and masters Faberge sought and found other sources of inspiration nicknames, including the style of Louis XVI, Empire, Gothic, Renaissance, the Middle East, Persian, Indian, Chinese and Japanese art. Faberge Style based on a subtle mix of early "historical" styles, enriched Russian feeling, ease, elegance and unique virtuosity of execution. This was the "style of Faberge, is extremely popular, was the subject of admiration and slavish imitation, but as anyone and unsurpassed. Therein lies the reason for the success of Faberge.
The niche tastes and requests from the public, open the genius of Faberge, now filled with it - it was an endless stream of useful things - cigarette cases, lamps, phone calls, hours of - superior to each other with their ingenuity. Each of them has a very fine form and perfection. Instantly recognizable, they were perfect symbol of the status of their owner. By purchasing these expensive toys and gadgets, you get in terms of "elected." Faberge has a team of uniquely talented designers and the highest caliber of their favorite artists. Through continuous innovation, he easily outpaced his competitors. It is this desire for novelty allowed him to assert that at the end of each year, he sent to be melted down all the things that have remained unsold. Faberge could proudly say of themselves in an interview: "... if you compare my case with such companies as Tiffany, Busheran, Cartier, then they're likely to find more jewelry than me. They can be found ready-made necklaces at 1,500,000 rubles. But it's dealers, jewelers, and not artists. Little interest to me dear thing, if its price only in the fact that planted a lot of diamonds or pearls. "This credo Faber-as distinguished from its competitors. He also stated that any thing beyond his strict standards of excellence, was destroyed.
Enamels
The most popular items "from Faberge has always been made of gold and silver-coated painted in soft colors enamel, artfully placed on the mechanically treated basis. Unlike competitors who preferred to work with reliable and safe tones - white, pale blue or pink - Faberge bravely undertook the creation of enamel and risky inimitable tones - tones of yellow primulas, a purplish-plum, pink-semuzhny, purplish-green or Prussian blue tones. He could choose from more than a groan of colors and shades. The most exquisite, no doubt, was his inimitable "oyster" - a shimmering warm white tone, reflecting the iridescent shades of the inner surface of a seashell.
Enamel is also covered and the surface of products, pre-treated with the technique "guilloche" - had different variations - one more technology in the jewelry business by Faberge in Russia first applied to art objects. "Sunlight," "wave" or moire pattern, etched into the enamel metal base attached to the life of flat surfaces. These effects are complemented by "motives" of flower petals, landscapes or imitations of droplets agate, which were written with a brush before applying the penultimate layer of enamel pigment. Last, the upper layer of enamel - "fondant," or his brilliant cover - carefully and cautiously, many hours of polishing a wooden wheel and polished to give the subject its unique radiance.
Figurines
Proved and there is no doubt the fact that many of the figures of animals, created by Faberge, were inspired by Japanese netske, which owned a large collection of Carl Faberge himself. Its obviously attracted compact form and the natural ease of execution of these figures made of wood and ivory. These features were not lost their charm and rock interpretations of Faberge. His "pets" are alive, often humorous, and sometimes - even a caricature. In any case, they are never static and boring. Style and quality of work vary depending on the design and material. The most famous collection of such things - a collection of Queen Alexandra, subsequently extended and amended by the Queen Mary and located now in the ownership of the British Royal family.
Faberge used a variety of stones to create their animals. Some models were performed in the color of "realistic": the seal of shiny obsidian sitting on the ice from rock crystal; for piglets used pink quartz, aventurine, for rhino - kalkanskaya gray jasper, etc., Faberge, also used the natural veins in the stones, mostly agate and jasper, how it was possible to simulate fur. In more rare cases Faberge chose for their animals "unnatural" for them colors, thus giving them a funny look: green rooster, pink rabbit, a blue elephant.
Flowers
Representing a rare exquisite arrangement of flowers Faberge also trace their origins from the Eastern originals, in his memoirs F. Bierbaum recalled: "For the first time we paid attention to this branch of Chinese art, which brought us to repair a bouquet of chrysanthemums ... Through skillful selection of colors and transparency of some of the stones, this work produced an excellent impression. "
In most cases, floral arrangements Faberge placed in vases of rock crystal, impeccably cut so as to create the impression that they are filled with water. Golden stalks of flowers thoroughly otgravirovany. They are finely carved jade leaves and enamel, and diamonds, the flower petals of the corolla or kidneys. Some of them are seasoned in Japanese style, set in bovenitovye pots. Very few repeats - among them are the flowers, favorite flowers Alexandra Feodorovna, branches of mountain ash, raspberry and dandelions.
Designers Faberge as a model for his work often took fresh flowers. In an album of photographs from the workshops of Faberge have shots with vivid colors, including a basket of lilies of the valley, almost exactly the same as the famous shopping lily of the valley, made by Faberge in 1896
Objets de virtu - useful items
Embodying the idea of Carl Faberge and Agathon, who were wishing to enter into daily life products to jewelers and goldsmiths, the largest Faberge workshops began to produce a large number of different household items: picture frames, bells, handles for canes and umbrellas, watches, writing instruments, cigarette cases . And this is far from the whole range of decorative and fully functional objects. Made of gold and silver, and sometimes even of wood or ornamental stone mined in Russia, these objects were decorated modestly, but with the elegance of style, which is always associated with the products of Faberge.
Cigarette cases
Of all the "useful items" were undoubtedly the most popular cigarette. While smoking was very common among all segments of the population, beginning with the emperor. Nicholas II was a heavy smoker, and as soon as it was twenty years old, he began to receive Faberge cigarette cases as a gift at Christmas and birthday from his father, mother, and later, and his wife.
Nicholas II himself gave hundreds of cigarette cases adorned with the imperial eagle or his monogram, his uncles - the great princes, cousins, relatives abroad, diplomats, and Russian officials and the various people who provided services to him personally or have served the country. White enamel cigarette case with a gold monogram, presented to Grand Duke Nicholas, cousin of the emperor and the army commander in 1914-1915, is a typical example of such gifts and an example of "simple" elegance of Faberge style. Another striking example of the refined elegance of Faberge items is polished gold cigarette case, decorated with the monogram of Grand Duke Nikolai Nikolaevich for the crown.
Most cigarette cases adorned with colored transparent enamels. The depth of color lights on the surface of the metal guilloche is a particular sensual pleasure as smokers and nonsmokers.
Two silver cigarette case in the modern style, decorated with Russian motifs are of particular interest. Both depict scenes from Russian life, written by a matte enamel technique, invented by Theodore Rueckert about 1908. One of them - a rare example of the independent Moscow master F. Rueckert, whose belongings from the enamel in neo-Russian style is often sold by Faberge. Proreznaja composition depicting a bear attack on a boyar in the woods, made in the embossed style "nugget" allows you to see the background of a Russian winter landscape, painted with enamel. Another cigarette is a rare example of the product in the neo-Russian style. He performed in St. Petersburg master B. Reimer and decorated with a relief of Russian motives and enamel miniatures depicting a fairy tale "My sister and brother Alyonushka Ivanushka."
Cigarette cases made by Faberge, represent a large range of styles from neoclassical and Rococo to Art Nouveau. It is also interesting variety of materials, from gold and silver with enamel to wood and copper. From a technical point of view, cigarette cases fulfilled perfectly - with a silent invisible springs and easy to open locks. Through a variety of decorative and technical methods, such as the use of colored gold, the rich range of colors of transparent enamels, precious stones and decor of these cigarette cases are an example of excellent craftsmanship of jewelers Faberge.
Figurines
To have survived for about 70 stone statues of the Faberge Workshops. Their technique dates back to the Florentine commessi XVII century. They are composed of colored semi-precious stones, precious stones from Siberia, the Urals and Altai.
Figurines are divided into four categories. A small number of them, probably the earliest, are portraits of people truly existed - such as the janitor of the Faberge, singer Varya Panina, or cell-Cossack Dowager Empress. The biggest of them had as their prototypes of the so-called "action figures for the lodge," popular in the past statues of biscuit porcelain, which can often be seen in the homes of ordinary citizens. These figures, representing national WIDE types of series belonging to Sir William Sid. Among them are several mu-zykantov, police, soldiers, two peasants and Cossack. A small group of a hundred-tuetok represents special orders, such as John Bull, Uncle Sam, Chelsiysky retired veteran, Queen Victoria or Pull-and-persuasion. And, finally, a later series of realistic caricatures of the street peddlers and merchants, made to Emmanuel Nobel, who was said to have ordered the Faberge over 30 such figures. With few exceptions, all the original statues are unique, repeating, if they had been carved out of stone of a different color.
Easter Eggs
The first egg was commissioned Faberge Czar Alexander III in 1885 Due to its instant success, Faberge was granted a permanent order of the imperial court and comply with the Easter eggs one by one, ten - for the Tsar Alexander III, which he every year up until the death of 1894, gave his wife, Maria Feodorovna, and another 44 - the period between 1895 and 1916. - For Tsar Nicholas II as gifts for his mother, then had the Empress Dowager, and his wife, Alexandra Feodorovna. In total, the emperor's order they were created 54 Easter eggs. You can also assume that some eggs were donated in time and other members of the imperial family. Today we know with certainty what to have survived 45 Easter eggs made by royal order; preserved picture of another; 5 more aware of the descriptions. Preserved as one of the two unfinished Easter eggs, work on which were conducted in 1917.
A series of Faberge Easter eggs, carried out for two Russian emperors - the most ambitious project ever accrue to the share to one of the jewelers. Conditions there were only three: the egg-shaped form, "surprise" and the lack of reps. "Surprise" was frequently associated with a particular event in the life of the royal family - birthday, anniversary, age, coronation. Some of these Easter gifts decorated with royal monograms and (or) the dates, many children are miniature portraits of the emperor or images royal residences, include two models of the ships on which sailed the last Russian emperor. Faberge took this project very seriously, often planning to work in the years ahead. And Indeed, some of these Easter eggs require more than a year of work. "Surprise, hidden in the gift the king was kept very secret, even from the Emperor himself," - wrote F. Bierbaum. Egg or solemnly portrayed the king himself, Carl Gustavovich or Yevgeny Karlovich and always met with enthusiasm.
Products reinforced with clasps and hinges, if necessary, can be disassembled for care or repair. Regardless of whether or disassembly is provided initially or not, this feature allows to keep all of its mechanical components in good repair. This, in turn, removes many restrictions in the choice of materials. Faberge liked the combination of precious materials with those that have low monetary value.
The most common "shell eggs enamelled in Fabergé-known technique. If the egg consisted of two halves of the drop-down, designed, developed so that the inlay carefully masked the closed edge of both halves.
Decorative plates, attached to the surface of Easter eggs, not only identifies a particular artistic style, but also helped to create stories that prejudge or emphasized the importance of being inside the surprises. Some important decorative details were still as grounds for the foundation and supporting pillars. choice of material for the manufacture of decorative finishes dependent on their purpose.
When making Easter eggs as a substitute for gold, and has the beauty and strength, used ormolu (ormolu). Also used gold-plated silver (vermeil), which has an even more brilliant the surface compared with bronze. Silver has also been applied to produce a framework of miniature portraits, surprises. For purely decorative purposes Faberge often used color gold. Correctly selecting the ratio of pure gold and other fine metals, he received a set of different shades of saturation.
A lot of Easter eggs decorated with solid decorative finish, usually called cagework (grid, grid, frame). Themselves or in combination with other details of decor, "grid" made from a wide variety of materials.
Most of the details of external finishes, ranging from skeletons and festoon of gold of different colors and ending with the leaves and stems of flowers on an Easter egg "Lilies of the Valley", is attached to its shell with tiny clasps. Fasteners soldered to the back of the fastening parts, inserted in the holes in the shells. They then bent along the inner surface of the shell in order to firmly secure decorations. During drilling holes in the enamel shell of the egg was immersed in water, to drill for overheating and does not damage the enamel coating.
Among the "surprises" hidden in many Easter eggs by Faberge - miniature models, made of precious materials, jewelry, as well as images of people, events and places that had significance for the imperial family. Some surprises - in fact, individual works of art that can be seen or, in some cases, result in motion, only the extraction of eggs. Other secrets can be observed through the pro-zrachnuyu shell eggs. Opening of the eggs are attached to hinges. Top-sided part can serve as a cover. The sides of the doors may be capable of opening up or down depending on the location sharnirov.Detal outer shell eggs, hides a surprise, usually mounted on the spring hinges are designed so that when you press a button or dogs, she gently opened.
There was no object, which would have frightened Faberge craftsmen in their size and would have seemed impossible for a miniature reproduction as a surprise for the Easter eggs. MODEL Gatchina Palace and adjacent areas, with trees, lamp posts, was made of engraved and textured gold four colors. Model of the monument to Peter the Great, Falconet executed by order of Catherine the Great, also found expression in a "surprise".
Simple mechanisms applied in some Easter eggs, obviously, have been designed specifically for each case. Simple gear raises and lowers three miniature portrait of Czar Nicholas II and his elder daughters, Olga and Tatiana in Easter egg "Lilies of the Valley." With the full scope of the mechanism of thumbnails are arranged in a fan-shaped, so that everyone can see the portrait. Imperial crown, crowning a portrait of the king, when lowering portraits turns into fleuron over the closed egg.
In some eggs embedded clock. Clockwork is wound keys, which are usually inserted into a hole in the rear of the case, but there are mechanisms for winding through the handle. Some Easter eggs watches have a horizontal band of figures rotating opposite the fixed mark. Inside the special eggs hidden figures of birds that appear every hour from the top of the eggs.
Perhaps the most famous "surprise" is the coronation coach of the Easter eggs "Coronation" - a miniature model of a length of 3 and 1 /6 inches, made of gold and enamel - an exact copy of the coach used for the coronation of Nicholas II and his wife's 1896 "Curtains "engraved directly on the small window of rock crystal. Decorated door handles, smaller than a grain of rice, rotate, opening and closing the door on the latch. Case rests on the carriage strap that amortize as real leather, thus swinging and body on the chassis when driving crew.
The most intricate secrets set in motion by clockwork mechanisms. The basis for the establishment of these mechanisms served Swiss machines XVIII century, but the layout of the train in an Easter egg "The Great Siberian Way" is an exact replica of this locomotive and wagons Trans-Siberian Express. The current model trains formed section by section in a padded velvet pouch inside the egg. Map of the railway route and crowning the whole composition heraldic eagle are also a hint of surprise hidden inside the egg. In the best traditions of Faberge Easter Egg "The Great Siberian Way" and his "surprise" are among those works of art that delight the eye, captivate the imagination and warm the soul.
"Falshberzhe"
All the things that were sold by the company, wore it a stigma, except in cases where a product was so small that the stigma of simply had no place, or if it was so fragile that "branding" would injure the thing itself. All fake, however, all fake Faberge supplied with stamps. And if the 70-ies poddelschiki often mistaken for branding, the latest wave of fraud has reached in this regard is almost perfection.
And at the same time, we are faced with a peculiar problem - the things that really created by the master and that even in times of Faberge sold without stamps. These include animal figures, floral arrangements, some figures of stone and jewelry. Sculptural images of animals, created by Faberge, branded very rarely and only on metal parts, and were too small for engraving. No marks and original cases, they represent a challenge to the paraphernalia - the definition of authorship and authenticity of the thing itself. Stems of flowers were also too fragile for engraving, and only a small part of flower arrangements Faberge marked scenes. Stamping same Work clothes-ly made of platinum when the law was unnecessary, as well as most of Faberge jewelry made from this particular metal, if the original case has been lost, proof of authorship and authenticity of the things are left. This category of products and proved to be an ideal field for manufacturers of fakes.
These problems began to arise during the life of Faberge. With the growth of his international fame after the Paris World Exhibition foreign competitors began to adopt the style of Faberge. Imitating him famous jewelers in London, Vienna, Berlin, fought by Faberge for his rich Russian and English clientele. Books accounting Cartier (Paris) contain many of the same names that appear in the books of Faberge. The books mentioned Cartier 169 flower arrangements, one of which was purchased from Faberge. It also listed 200 animal figures from gems, many of which are purchased from the same suppliers of ornamental stones, and supplied that most Faberge: Ovchinnikov, K. Vefel, Denisov-Ural.
Several figures in the fields and some descriptions of animals at the map is very reminiscent of Faberge. Their mysterious disappearance from view of collectors and experts leaves no doubt that the earliest sculptures of animals of the card is now irrevocably entangled with the works of Faberge, and in this, obviously, one of the reasons established by art historians of his stylistic anomalies "of the animal world." The same apparently happened with some of the early floral compositions Cartier.
Soon after the death of Carl Faberge, his two sons, Joe and Alex, together with a specialist in stone and the former manager of the Moscow branch of the company, Andrea Marchetti, and Giulio Gereri, a jeweler from the Moscow firm "Laurie," opened in 1924 in Paris, the company "Faberge & Cie. "According. Eugene sold his father's belongings, renovating them, re-covered with enamel. He succeeded. The company ordered carved stone figures of animals in Idar Oberstein, moreover, some of them made design Alexander Karlovich.
License to use brand name "Faberge" as a trademark at one time was sold to Parisian jewelry firm of Gerard. " She is now owned by Unilever. Today is also a goldsmith and Maier from Pforzheim acquired the right to make their own "Faberge" and Andrew Ananov in St. Petersburg, with his workshop from 40 jewelers, makes its so-called "Faberge in the style of Ananova.
Already in 1934, openly raised the question about the forgery Faberge. In the United States poddelschiki active since 30-ies, since the prices of the work of the famous wizard and his firm skyrocketed, and demand began to exceed supply. Among these early imitations include many floral bouquets on display in some American museums. All of them are pretty rough work, and made a master or one group of masters, most likely in Idar Oberstein in Germany.
More serious fraud began to appear in Europe since the mid 50's, when color photographs and drawings of stamps in the new detailed monographs gave craftsmen and their customers with the samples on which they were able to create their own simulations. These easy to identify counterfeits, as they invariably and directly copy the already existing, well-known originals (as a rule, all things Fabergé unique, except for some). All this, mainly figurines made of stone, flower arrangements and animals of the gems.
In the 1960's from the Soviet Union poured a stream of workshops fakes. Whether it comes from some of Nahum Nicholas and his brother Basil Konovalenko. These people specialize in selling authentic antiques Russian enamel in Technology cloisonne, which they skillfully overwrote the old stamps and placed on top of them hallmarks of Faberge. More serious fakes were sold by their carvings of animals and stone statues, which are quite a few fell on the Western auctions. In 1969, 15 artists were arrested, N. Nicholas sentenced to 6 years in labor camps in Siberia. V. Konovalenko from the early 80's living in New York and works as a sculptor.
Located in New York studios also issue a significant number of all kinds of things with the stamps of Faberge. They have a number of assistants who travel around the world and sell "products Faberge (for example, harlequin - sets of blades for cutting paper with imperial monograms and coats of arms)," discount "does not guarantee the authenticity of their belongings.
Style "Brooklyn poddelschika" is easily recognizable: he works in stone and in the enamel guilloche. Hallmarks and quality are impeccable. The most obvious feature is its abuse of imperial symbolism: all the things "pereshtampovany" double-headed eagles, the imperial cipher and monograms (these characters, implying the "authentic" identity things imperial family, in fact, very rarely used for that purpose). Another distinguishing feature is the abuse of laurel wreaths in the style of Louis XVI.
Counterfeit items of Faberge, which has reached tremendous size, will continue to find more buyers for as long as inexperienced buyers do not believe that a handful of truly recognized experts, which can be found on both sides of the ocean.
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Interesting information for the attribution of silver and antique items. (EA)
-------------------------------------------------- ----------------- «Some information about the St. Petersburg gold and silver
Masters of. (1714-1814 )».
(Old Years: Monthly for lovers of art and antiquities. - 1907. - Jan. - S. 7-13.)
A page of the journal
Over the past twenty years the West has repeatedly drawn attention to the masters of the golden and silver light, and appeared in many of these studies. We now have more or less detailed information about the masters of former times in Germany, France, Britain, Denmark, etc. We know their brand, we can clarify the role of many of them in the arts and their degree of talent. Thus, we may in rare, perhaps, exceptions to determine who is filled with antique items overseas production. It's time we take up the case, remains as yet quite untouched, unexplored and unknown. We are so accustomed to looking at works of art as a subject of foreign origin, which is almost always believe good things brought from abroad, unless there is direct evidence of the opposite. In view of this, all our museums and private collections replete with examples of wrong definition of various silver and gold objects, as things overseas production, whereas they performed in Russia.
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On close acquaintance with this subject, we not only can make sure that we have had excellent masters, though mostly of foreign origin, but also in the fact that many works of their hands, survived and reached us.
For six years, the author of this little article, from various archives (Ministry of the Imperial. Dvora, Min. Finance, trade management and so on.), As well as from many other sources, compiled a rather extensive article on the subject.
The most accurate and complete information, preserved on the St. Petersburg artists, and why we dare to publish this material
as a first experience, hoping that there will be other researchers, which over time will add to what has not yet been set.
Start a silver case in St. Petersburg, rise almost to the time of the town, as Peter the Great, at the very beginning of the XVIII century, wrote to the new capital from Moscow and from abroad to many different kinds of artisans and artists, among which were gold, and silversmith.
Accurate information on the latest start in 1714, when the Emperor allowed the masters of the foreigners to join the guild, approved by him in 1721 and 1722 years. Peter the Great, later, introduced the example of the west shops throughout Russia. Empress Catherine II defined in more detail the internal structure of Russian shops in the "Handicraft Regulations" in 1785 and, finally, the Emperor Paul I have finally organized them in a "Charter shop in 1799
Shop were masters, journeymen and apprentices. At the head of each department stood steward, elected masters crafts, which alone enjoyed the right to vote. The guild-masters became a craftsman who has received the certificate on this title and enacted in the shop, after celebrated by no less than three years as an apprentice and after the enforcement of a "trial work» (Meisterstück).
Master enjoyed the exclusive privilege of holding a workshop, apprentices and students and to acquire rights of the urban citizen. This privileged position passed to the widow of the wizard.
Obviously, at first, when Peter the Great has been given permission to connect to the shops, foreigners from the masters, first, we felt a need of such an institution, as they were in a strange land, did not know Russian language, and even at home are accustomed to laws, requirements and responsibilities of the guild system, which existed in the west everywhere in the Middle Ages.
Thus, gold and silversmith from foreigners joined in 1714 in the shop, which was, after approval, followed in 1721, the title: «Das Amt der löblichen Gold-und Silberarbeiter in St.-Petersburg».
Archives of this even today the existing plant, which we called, contains many interesting and valuable material for the history of the silver case. Up to 80 years of the XVIII century. Books on making disciples, apprentices, and the discharge of their manufacturing in the wizard do not always, however, were given sufficient notice and have a lot of gaps. Since 1787, thanks to the organizational talents of the then mayor, Joachim Gasselgrena were instituted new books and an opportunity to fill gaps in the old, were then set up shop, cash books, etc., so that from this year's information are already full.
The first mayor of the foreign department was Johann Jasper, and the date of approval of the shop - Gottfried Hildebrand. This Hildebrand, born in Dorpat, was in 1707 a prisoner in Moscow and is one of those early masters who were sent to the new capital by Peter the Great. Until the Empress
Catherine II in a foreign shop were comparatively few artists, but since then their number is becoming more and more increases and reaches to the beginning of the XIX century. approximately one hundred and fifty.
Here is a list of the first St. Petersburg gold and foreign silversmiths shop until 1735:
1714. Jasper. Johann Jasper. 1718, 1727.
1717. Day. Abraham Dey.
1719. Reimer. Johann Reymer.
1721. Hildebrandt. Gottfried Hildebrand.
1721. Beyer. David Beyer. 1725.
1721. House (Don). Nicolay Dohm.
1721. Shnauts. Antony Schnautz.
1721. Holst. Johann Holst.
1721. Lud. Jacob Lud.
1721. Stark. David Staark.
1721. Schultz. Johann Schultz.
1721. Udendal. David Udendahl.
1724. Dankvard. Joachim Danckward.
1724. Fridrihsons. Friedrichson.
1724. Kepping. Claus Jacob Köpping. 1741.
1724. Sharpinel. Scharpinel.
1725. Dunkel (Tunceli). Wilhelm Dunkel, † 1744.
1725. Lees. Charles Lys, † 1746.
1726. Bauman. Carl Friedrich Baumann.
1726. Bock. Matthias Bock.
1727. Gipps. Samuel Gips.
1728. Bibo. Cornelius Bibo.
1728. Dummer. Jacob Dammer.
1729. Drumnen. Drumnen.
1729. Kyunsteler. Friedrich Wilhelm Kunsteler.
1731. Bam. Böhm.
1731. Uder. Uder.
1731. Deyhman. Zacharias Deichmann.
1731. Tsart. Johann Heinrich Zahrt. 1745.
1734. Node. Pierre Naudé.
1735. Catalan. Katalau.
1735. Klifman. George Klifman.
1735. Martens. Johann Martens (Martin).
1735. Opman. Heinrich Opmann.
1735. Rubert. Niklas Rubert.
1735. Schmal. Johann Schmahl. 1754.
1735. Styulberger. Sebastian Stuelberger.
All books, accounts, certificates, business, etc., from the very beginning of the existence of a foreign plant and until now, were in German. This is explained by the fact that the Germans had occupied in the shop first in size. They moved to St. Petersburg not only from Germany but also from Courland, Livonia and Estland cities of Poland and Moscow, which has long existed the German colonies, often as they migrated from Finland, where in Vyborg, Villmanstrand and Fredrikshamn too , since the beginning of XVII century., formed similar colonies of immigrants from the Germans. Second place, occupied by the Swedes, some of them came to us also from Finland. This is followed by the French and the Finns. Besides these nations, we find among the masters of the Danes, British, Austrians, Armenians, Italians, etc.
Usually, these masters took his disciples of his fellow villagers, most notably in Finns and Swedes, but often acted in teaching Russian to foreign masters. Already in the first half of XVIII century. began to make the difference between gold and silversmith, and then came the new group, called jewelers, engravers and fancy masters. Last fabricate small items.
Jewelers are not all considered to belong to the shop, and some, eg. Famous Poze (Pauzier) and Bernardi, preferred to occupy the position more freely and be more merchants, traders, artisans than webmasters.
Engravers belonged to the shop from the very beginning of its existence, but it came out in 1842 and established a special department.
Many of the artists do not keep strictly to one or other industry trades and were both gold and silversmith, and jewelers. The following lists of masters, we provide their specialty, everywhere where we could set it up.
There were masters, who elected a single definition of special and dress only one kind of thing; such example. Wizard Panash, Kemmerer, and Kabel, of which only the first, the other two for the most part engaged vydelyvaniem insignia.
You may also want to mention the fact that one group of masters of Russian plant, which is still quite have not yet investigated, dealt
vydelyvaniem exclusively of church plate: salaries for icons, crosses, lamps and etc.
Following the establishment of workshops foreign masters, and Russian gold and silversmith merged into one department.
Unfortunately, almost all cases and acts masters lists, etc., this shop destroyed later and several hundred thousand cases have been sold - especially in 1864 and 1871. - As waste paper by weight. The archives of the St. Petersburg Crafts council, in addition affected twice by fire, there were only cases from 1805, and the restoration history of the Russian St. Petersburg plant and Russian masters is a mosaic work - collecting everywhere, scattered and incoherent and scarce news. From 1805, 1807 and 1809 years. There are books "issued by the masters tickets" with thousands of names of masters of all the departments together, however, no one in behalf of the master does not indicate to which particular band he belonged, so that this material is totally unsuitable.
From 1804, 1811 and others years. there are so-called "inspector's", in which each artist gave information about his family.
This information is very scarce, and also did not contain as to when he was admitted to the shop where I came from, etc. In addition, and in these books are not masters of the shops are located, and all together, so look for gold and silver masters in this mass of names, including butchers, tailors, shoemakers, blacksmiths, bassonschikov, etc. - is very difficult.
Among the first Russian craftsmen in St. Petersburg, which has so far been found, include:
Pazulov, court jeweler. 1721, 1723.
Samson Larionov. 1723, 1724.
Sukhotin. 1721, 1723.
Fedor Razumov. 1730, 1738.
Mikhail Belsky. 1736.
Ivan Liebman. 1741, 1762.
Tikhon Zolotarev. 1743, 1750.
Ivan Schrader. 1745.
Ivan Zolotarev. 1747, 1753.
Ivan Volny. 1753.
Ivan Evstifeev. 1762.
Crutches. 1764, 1767.
Nikita Ivanov. 1768.
Chistyakov. 1768.
Since the beginning of XIX century, began to exercise greater oversight to a department of foreign masters were made only truly foreign, and often the master of the foreigners who took Russian citizenship, emerged from a foreign plant to switch to a Russian.
In 1793 the "Workshop Russian goldsmiths and silversmiths' consisted of 44 artists, 16 apprentices and 14 apprentices, and shop foreigners - from 59 goldsmiths, 51 goldsmith
27 fancy masters and 2 engravers - all of the 139 artists, jewelers, but not including, inscribed by merchants.
Before we proceed to list all known for a hundred years (1714-1814), St. Petersburg artists, we must say a few words about their brand.
Even before the foundation of the new capital, working in Moscow, the master noted stamps of their work and, of course, that this custom was moved to St. Petersburg, immediately after the establishment of its shops.
These stamps are called "Nominalia" because they consisted of the initials and last name of the wizard. Usually the letters (2 or 3) placed in elongated rectangle, but there are frameworks and other forms.
In Moscow, where the stamp is usually placed in the three letters (first name, middle name and surname), stigma very often took the form of heart or shamrock.
By the end of XVIII century, in order to avoid confusion often repeated the same initials, belonging to different masters, came into use Nominalia full name in a rectangle or en creux.
Often the master, after several years, changed the shape of stamp, so that we know sometimes 2-3 different stamps denoting one and the same master.
Knowing the names of masters and the time of their life and work, in theory, more or less easy to determine who is executed objects which survived a stamp. However, in practice
is often one factor complicating the resolution of this problem is that the stigma of "assay master" - also "Imennik" and often have exactly the same form as the stigma-Imennik gold and silversmiths.
If the stamps assay master is more than initials and year, then it is easy to distinguish a brand, because the year is never found on the stamps of gold and silversmiths, but if it consists only of two letters, the only condition is to define it - knowledge of all names and surnames of those and other masters. We give for this reason, above all, the names and initials of the St. Petersburg assay master, whom we have established, indicating those years, which, according to our investigations, are their activities:
F. M
B.
G. S.
Sh
VN
JF
EB
NM
AZ
AY
II=
=
=
=
=
=
=
=
=
=
Fedor = Miliukov from 1728
Bukayev, before 1736
1736, 1737.
Shamshiyev, 1737.
1742.
Ivan Frolov, 1743-1776.
Eugraph Borovschikov, 1772-1783.
Nicephorus Moschalkin, 1778-1800.
1795-1799.
Alexander I. Yashin (Yashinkov, Yashenkov), 1795-1826.
Ivan Ivanov Afanasyevich, 1805.
From real craftsmen, of course, only a certain number has the right to everyone's attention, such, for example., Goldsmiths and jewelers: Pauzier, Bernardi, Ador, Gass, Bouddé, Dus, Bock, Keibel, Godefroy, Hasselgren, etc . or silversmiths: Köpping, Blohm, Okkerblom, Bredenberg, Dohm, Deichmann, Liebmann, Lundt, Bergstroem, Buntzel, Buch, Hagstadt, Hedlund, Kolb, Palm, Tenner, Unger, etc.
A same number listed in the alphabet of artists is less interest, since many of them are just a short time worked in St. Petersburg, or focused solely on a simple craft work, as, for instance., Vydelyvaniem spoons and forks, plates, smooth and generally cheaper market things.
Clarify the role of each of them, meaning that he had for art, the autonomy of its taste, drawing, etc. - this is something for the future, and we here only give the beginning of follow-up studies. The place, unfortunately, we do not allow to add more information about masters and what we know about the subjects of their work, come down to us, and give descriptions of different things, some of the documents or stamps as a work of either artist.
Hallmarks yet been established for very few artists, as it seems, never kept lists with descriptions of them or copper plates with impressions approved Assay tent.
Baron AE Felkerzam
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25.04.2009, 13:59
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