Moscow in Silver: When Every Jewelry Piece is Part of Our Identity

Every city has its iconic places that shape its appearance. Moscow has many such places. The Kremlin – its panorama is depicted on a cigarette case, which showcases the classic view of the Kremlin from the Bolshoy Kamenny Bridge.

1. Cigarette case with a panorama of the Kremlin (signed).

The architectural lines of the Kremlin form a harmonious row of towers, churches, and bell towers. The central place is occupied by the Ivan the Great Bell Tower, surrounded by the silhouettes of cathedrals. To the left, the Grand Kremlin Palace is visible. In the left corner of the cigarette case, among tree branches, the author's signature is hidden – "Mironov." Hallmarks on the item: "875," a worker's profile with a hammer, the "delta" mark of the Moscow Assay Office, and "YuKhA" – likely the Jewelry Art Combine, 1953–1954. (Data based on the catalog edited by M.M. Postnikova-Loseva.)

2. Panorama of the Kremlin

Almost the same angle, but with different proportions, is presented on a jeweled commemorative badge issued in honor of the II International Conference on the History of Cardiovascular Surgery in 2002, created by the chief artist of the Moscow Mint, V.M. Erokhin. Here, the Grand Kremlin Palace by architect K.A. Thon is at the center of the composition. The handcrafted work is executed with such attention to detail that one can even distinguish the brickwork of the towers and the letters on the upper tier of the Ivan the Great Bell Tower. The dimensions of the badge are 70x40x5 mm. The commemorative badge bears the fineness mark "SrM925," a "female profile in a circle," the maker's mark "MMD," and "BM." Notably, according to the Moscow Mint archive, only 27 copies of this badge were issued!

3. Theater purse with a panorama of the Kremlin.

A similar angle of the Kremlin can also be seen on an old theater purse with a chain, marked with the fineness "84," created in Moscow by master "F.A.A." (meaning F.A. Abakumov, owner of a jewelry workshop from 1868 to 1908), and assay master "A.A/1891" (A.A. Artsibashev, 1891–1896). In the blackened geometric ornament of the purse, the same view of the Kremlin panorama is repeated. The changes that have occurred in history are, unfortunately, so significant that perceiving them on such a scale is not always easy.

4. Glass holders with a panorama of the Kremlin. Spoon with a panorama of the Kremlin.

Similar feelings arise when looking at glass holders with niello, produced with a similar design. These glass holders were manufactured at the Veliky Ustyug factory "Severnaya Chern" in 1961 and 1968, marked "SCh1" and "SCh8" respectively.

5. Spoon with an image of the Intercession Cathedral, 1880. 7. Cigarette case with an image of the Spasskaya Tower, 1953. 8. Spoon with an image of the Spasskaya Tower.

Among silverware, one can find many unique items depicting Red Square, where St. Basil's Cathedral and the Spasskaya Tower particularly stand out. The finely crafted silhouette of the Intercession Cathedral, also known as St. Basil's Cathedral, adorns the reverse side of an impressive jam spoon with a twisted handle, boasting an impressive diameter of 6 cm. The spoon's handle is also decorated with niello, adding extra refinement to the piece. Created in 1880 in the workshop of V.S. Semenov, this spoon is an example of high-quality craftsmanship (hallmarks: "84-GM*, I.K/1880, and VS"). The factory founder, V.S. Semenov, started his business in 1852, and by 1873, he already employed 40 master craftsmen. In the early 20th century, his daughter, M.V. Semenova, successfully continued his work. The small jam spoons from this set are also adorned with stylized images of both the cathedral and the Spasskaya Tower.

The Spasskaya Tower frequently appears on modern silver items dedicated to Moscow. Let's note the depiction of the Spasskaya Tower captured on a large cigarette case, which was made in 1955. The Gothic slenderness of the tower harmoniously fits into the architectural ensemble of the medieval brick wall. The silhouette of the Spasskaya Tower is framed by an exquisite ornament, complemented by ears of wheat (hallmarks: "AMYu5, a spade with a profile, and 875"). In the same series, depicting the same tower, is a tea set, including a glass holder with the detachable inscription "MOSCOW" and a teaspoon. The glass holder was made in 1968 at the Moscow Jewelry Factory, its assay hallmark: "a star and 875," while the spoon was produced at the "Severnaya Chern" (Northern Niello) factory in the same year. Both items look as if they were created for a single set.

10. Cigarette case with an image of the Mausoleum. 1920s. 11. Pashkov House. Photo. 12. Cigarette case with an image of the Pashkov House.

The image of Lenin's Mausoleum, built in 1934 under the direction of Academician A.V. Shchusev, is familiar to everyone. However, one item in the collection transports us back to 1924 – the year the original wooden mausoleum with a truncated stepped pyramid was erected. To increase durability, the wooden elements were coated with oil varnish, giving them a stylish light brown hue. The entrance doors and columns of the upper portico were made of black oak. This wooden mausoleum, unfortunately, lasted only five years. Considering these historical events, I discovered a rare cigarette case from the 1920s, on the inside of which this mausoleum is depicted. Nearby, as if standing guard of honor, is a Red Army soldier in a Budenovka hat with a flag lowered in mourning. Inside a five-pointed star are a sickle and hammer – iconic symbols of the revolution are neatly assembled in an engraved miniature that accurately reflects the spirit of its time and emphasizes the authenticity of the piece. The marking is indicated by the single hallmark "84," suggesting an old blank was used.

13. Red Gates. Photo 14. Red Gates. Snuffbox.

Let us ascend to the upper terrace of the palace standing on the edge of one of Moscow's hills. Originally, this was an amazing architectural and park complex that attracted many visitors. Descending its tiers, one encountered a formal park where crowds observed rare plants and animals. Surprisingly, a modern depiction of this place on a cigarette case conveys the spirit of those times—it shows a view of the Pashkov House with an open book, symbolizing its role in the history of the State Public Library. The maker's mark: "AMYuZ" – the "Moscow Jeweler" artel, 1953, assay mark: "spade with a profile, the letter 'delta,' and 875."

Snuffbox.

It is interesting to note that the use of the spade-shaped assay mark was only introduced in 1954, creating a slight chronological discrepancy. In those prosperous years, not only cigarette cases were produced but also various items such as caskets, powder compacts, and glass holders, depicting the Kremlin, the Hotel Moskva, the Bolshoi Theatre, and many other Moscow landmarks.

Let's travel back another hundred years. During that period, the city was protected by earthen ramparts, which over significant stretches coincided with the modern-day Garden Ring. One could enter Moscow exclusively through huge gates located within these ramparts. In some places, these entrances looked modest, while in others they shimmered with metropolitan luxury. Ceremonial gates, in addition to their primary function, often served as triumphal arches. One such structure was the Red Gates—wooden constructions that burned down in 1753 and were replaced by a stone version created by architect D.V. Ukhtomsky between 1755 and 1757. These gates stood for almost two centuries and were demolished in 1927. The name "Red Gates" today is associated by most with the eponymous metro station or the square on the Garden Ring, but in old Moscow, it simply referred to the color of the entrance. Their image can be seen on a niello cigarette case or a small snuffbox dating from the late 19th century. Hallmarks: "84-GM". Assay master: "SM/1896" (S.N. Milyutin, Moscow, 1896).

15. The building of the Moscow City Duma (photo). 16. A shot glass "City Duma". 17. A spoon with an image of the Sukharev Tower. 18. Sukharev Tower. Photo, 1900.

The next item sparks keen interest, and I'm willing to bet a thousand to one—you'll find it difficult to identify the place depicted on it. It is a niello vodka shot glass engraved with the inscription: "Moscow. Duma." The hallmark: "84 and a female head in a kokoshnik, turned to the right," according to the catalog, dates to 1908–1926. Many might immediately recall the location near the Historical Museum, where between 1890 and 1892 a building was constructed specifically for the Moscow City Duma, designed by D.N. Chichagov. Yes, most know it as the Central Lenin Museum. However, let's take a closer look. The shot glass depicts a two-story mansion executed in the architectural forms of the 18th century. One might assume a new building was erected on the site of an old mansion, but this assumption is incorrect—the history turned out to be much more interesting.

The shot glass depicts a stylized embodiment of the Sheremetev House, located at 6 Vozdvizhenka Street. It was once the main building of an extensive estate and was situated at the rear of a ceremonial courtyard facing Vozdvizhenka Street, directly in front of the Voentorg building, which has also since disappeared. This house was separated from the street by a substantial stone fence with columns, giving it a particular solemnity. Of the Sheremetev estate, only the so-called "corner house" at 8 Vozdvizhenka Street remains, which became the sole witness to its former grandeur. Over the years, this house housed many institutions, including the Moscow City Duma, making it even more significant in a historical context.

19. Set of spoons from the Semyonov workshop.

The next building worth telling about is certainly known to many, although almost none of us had the chance to see it in its original form. However, to anyone even slightly familiar with Moscow's history or at least acquainted with Gilyarovsky's notes, the place where the Sukharev Tower stood for over 250 years comes to mind. This majestic structure was built in 1692–1695 on the site of the old wooden Sretensky Gates of the Zemlyanoy Gorod (Earthen City), at the intersection of the Garden Ring and Sretenka Street, by order of Peter I and to the design of the great architect M.I. Choglokov.

Set of spoons from the Semyonov workshop

In old guidebooks, one can find descriptions of the Sukharev Tower as a truly grandiose structure, visible from many points in the capital, comparable in height to the Cathedral of Christ the Savior. This is why anyone coming to Moscow considered it their duty to first visit the Kremlin, ascend the Ivan the Great Bell Tower, pray in the Savior Cathedral, and then at least pass by the Sukharev Tower, famous not only for its wonders but also for its huge reservoir, which in the 18th century supplied the city with clean water. In 1829, a reservoir made of cast-iron plates, capable of holding up to 7,000 buckets, was created at its base, from which water flowed into the city's water supply all the way to Mytishchi. This drew attention to the tower, making it not only an element of the architectural landscape but also a center of interest for many Muscovites and city guests.

In our imaginary journey, we approach the Sukharev Tower along the cozy Sretenka Street, and with each new step, the massive silhouette of the tower rises above us. This is quite understandable, as the tower's height reached an incredible 30 sazhens, which corresponds to almost 65 meters by modern standards. Not many existing church spires and domes could match this grandeur.

In the context of Moscow topography, special attention is drawn to the teaspoons, which often serve as a gateway to the amazing world of jewelry art. Masters creating them often avoided striving for exact copies, focusing instead on conveying the general impression and atmospheric perception of architectural elements. Thus, Moscow in the depictions on spoons is presented not as a strictly documentary image, but rather in a stylized interpretation, allowing one to see the images of familiar structures from a new angle. Although upon closer examination, certain discrepancies in proportions and details can be detected.

20—21. Set of spoons with engraved design. 22. Khlebnikov Factory

Here are six elegant jam spoons, dating back to 1879, manufactured at the previously mentioned V.S. Semenov factory. The twisted handles are neat, executed without enamel. On the convex reverse side of the spoons, it is visible that the design is framed by a gilded border, which lacks ornamentation. With jeweler-like precision, the workshops worked on the images of the ensembles of the Grand Kremlin Palace, Cathedral Square, the Spasskaya and Kutafya Towers. There is also a large set of spoons decorated with engraving and chemical blackening. These depict the Spasskaya Tower, the Corner Arsenal Tower, the Cathedral of Christ the Saviour, the Sukharev Tower, and ensembles of churches... Each spoon bears an oval hallmark: "84" and an image of a woman in a kokoshnik headdress, turned to the left, indicating the period of 1899–1908, with the "delta" mark of the Moscow Assay Office. The maker's mark — "G.M." — is G.A. Mitrofanov, the owner of a workshop engaged in gold and silver work from 1908 to 1917.

23a. Khlebnikov Factory — 236. I. Khlebnikov's City Estate 24. M.I. Khlebnikov's House (photo). Platinum Plant (photo)

There is no need to introduce the reader to Ivan Khlebnikov's hallmark. This hallmark with the double-headed eagle of a Supplier to the Highest Court immediately evokes associations. M.M. Postnikova's catalog states: "Ivan Petrovich Khlebnikov worked in St. Petersburg until 1867. In 1870 or 1871, he founded his own firm in Moscow. According to data from 1882, the factory employed 150 people, with an annual turnover of 200 to 300 thousand rubles. In 1897, two steam engines and one steam boiler were installed at the factory, which produced goods worth 172,372 rubles." Precious traditions live on in the label of the Khlebnikov firm. Their activity was inextricably linked with the work and the house on Taganka. Here are modern photographs of these historically significant places for Russia's silver industry: the Khlebnikov factory (which later became the Platinum Plant), the estate opposite, where, according to legend, the company's founder Ivan Khlebnikov lived, as well as the house of his son M. Khlebnikov, located at the corner of Goncharnaya Street and Ryumin Lane. We are transported to times when jewelry art was an integral part of Moscow's cultural life. Each object, each spoon or pendant became not only utilitarian items but also works of art that conveyed the spirit of their time. A twist of history leaves behind unique artifacts, full of emotion and memories. Spoons, for example, not only served for serving jam but carry within them the life-affirming energy of Moscow, its architectural grandeur, and cultural heritage.

As one delves into the history of Moscow silver, the gaze increasingly returns to the names that left their mark on this industry. For instance, the hallmarks of talented masters such as G.A. Mitrofanov or Ivan Khlebnikov, enthusiasts of their craft, and their work served as a symbol of the high standards of jewelry making of that time. Every stamp, every detail spoke of impeccable execution and deep respect for tradition.

25. Fork from the Fabergé workshop. 25a. Hallmarks on the fork from the Fabergé workshop.

Beyond spoons, the variety of forms and functions of silver items is astounding. In a historical context, not only functional items acquired special value. Tableware, frames for festive days, as well as jewelry well demonstrate the richness of the artistic language of the masters. Thus, on every object, be it a teapot or a set of salad bowls, a unique style, superior technique, and a striving for perfection are reflected.

Returning to the creations of Khlebnikov, it is worth noting that their hallmark on each item guaranteed high quality and authenticity. The emblem with the double-headed eagle became a symbol of trust for both clients and descendants, once again emphasizing the significance of the traditions and Orthodox values assigned to them. These masters created a philosophy that spiritualized every object; their works united generations, preserving in memory the spirit of the capital and unique moments of its history.

26. Ladle from the table set by the Cheryatov workshop.

Another interesting aspect of Moscow jewelry art is the hallmarks of famous masters, which transport us to another era of Moscow. For example, the hallmarks "K. Fabergé" on a fork and the hallmarks "G. Cheryatov" and "G.Ch" on a table set represent two different levels of popularity. While Fabergé is recognized worldwide, the name of Grigory Kuzmich Cheryatov is little known to a wide audience, although his works stand out quite distinctly with their style and quality. Interestingly, Cheryatov's hallmark lacks the hard sign at the end of the surname, which is not an error; this resulted in "anticipating" the orthographic reform introduced in March 1917. The absence of the double-headed eagle on the hallmark shows that Cheryatov did not have clients among the high-profile customers, which included the Imperial Court. However, he often produced unique items that were sold through the shop of Fyodor Lorié ("LOR1E"), whose works enjoyed the same popularity as those of Fabergé or Khlebnikov. Information about Cheryatov's collaboration with Fabergé on a subset of items is provided by the research of A.N. Ivanov in his works "Masters of Gold and Silver Work in Russia (1600-1926)" (Moscow, 2002).

A table set from the Cheryatov workshop. Hallmarks "I. Cheryatov" and "G.Ch".

Interestingly, Fedor Lorie's flagship store was located in one of the capital's most elite districts – on Kuznetsky Most, in the building of the Moscow Merchant Society. The Moscow branch of Fabergé's store was also located there. Although the building has hardly changed since then, in the 19th century it looked much more luxurious. Beautiful carriages and elegantly dressed people filled the streets, creating an atmosphere of prosperity and wealth. Time has changed the city's appearance, having taken the Neglinnaya River underground, and Kuznetsky Most, once a pedestrian crossing, ended up hidden beneath layers of earth and asphalt. At the same time, the silverware of old-time masters has met a much more favorable fate: it is capable of surviving into new eras, preserving its uniqueness and style, while buildings, such as the house on Kuznetsky Most, become merely a shadow of their former grandeur in the history of "silver" Moscow.

27. The House of the Moscow Merchant Society (photo, 19th c.) 28. Brand signboard (photo)

M.A. Bulgakov aptly noted that "manuscripts don't burn." Indeed, the achievements of human hands will not vanish without a trace in time. Unique silver items serve as a link between eras, preserving echoes of long-gone periods, including memories of those places that time has erased from the face of the earth, or of those events that radically changed the appearance of the capital.