Moscow in Silver: When Every Jewelry Piece is Part of Our Identity
1.3КFeb. 5, 2025Серебро
Every city has its iconic places that shape its image. 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.
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—"Mironov"—is hidden. The 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.)
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 archives of the Moscow Mint, only 27 copies of this badge were issued!
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 the master "F.A.A." (meaning F.A. Abakumov, owner of a jewelry workshop from 1868 to 1908), and the assayer's mark "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 they are not always easy to perceive on such a scale.
Similar sensations arise when looking at glass holders with niello, made with a similar design. These glass holders were produced at the Veliky Ustyug factory "Severnaya Chern" in 1961 and 1968, marked "SCh1" and "SCh8" respectively.
Among silverware, one can find many unique items depicting Red Square, where St. Basil's Cathedral and the Spasskaya Tower particularly catch the eye. 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 masters. In the early 20th century, his daughter, M.V. Semenova, successfully continued the business. The small jam spoons from this set are also adorned with stylized images of both the cathedral and the Spasskaya Tower.
The Spasskaya Tower regularly appears on modern silver items dedicated to Moscow. Let's note the image 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 grain (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: "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.
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. Unfortunately, this wooden mausoleum 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 with a flag lowered in mourning. Inside a five-pointed star are a sickle and hammer—the 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 sole stamp "84," suggesting that an old blank was used.
Let's 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 down 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 captures 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; the assay mark: "a shovel with a profile, the letter 'delta,' and 875."
It is interesting to note that the use of the shovel-shaped assay mark was only introduced in 1954, creating a slight chronological inaccuracy. 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 go 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 only enter Moscow through huge gates located within these ramparts. In some places, these entrances looked modest, while in others they gleamed with metropolitan luxury. Ceremonial gates, besides 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" is now associated by most people 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).
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 specifically for the Moscow City Duma, designed by D.N. Chichagov, was constructed. 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 representation 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 particularly solemn appearance. All that remains of the Sheremetev estate is the so-called "corner house" at 8 Vozdvizhenka Street, which has become 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.
The next building worth discussing is undoubtedly known to many, although almost none of us have had the chance to see it in its original form. However, anyone even slightly familiar with Moscow's history or at least acquainted with Gilyarovsky's writings can picture the location where the Sukharev Tower stood for over 250 years. This majestic structure was built between 1692 and 1695 on the site of the old wooden Sretensky Gates of the Earthen City, at the intersection of the Garden Ring and Sretenka Street, by order of Peter I and according to the design of the great architect M.I. Choglokov.
In old guidebooks, one can find descriptions of the Sukharev Tower as a truly grandiose edifice, visible from many points in the capital, comparable in height to the Cathedral of Christ the Savior. This is why anyone visiting Moscow considered it their duty to first visit the Kremlin, climb the Ivan the Great Bell Tower, pray at the Savior Cathedral, and then at least pass by the Sukharev Tower, famous not only for its wonders but also for its enormous reservoir, which supplied the city with clean water in the 18th century. In 1829, a reservoir made of cast-iron plates was created at its base, capable of holding up to 7,000 buckets, 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's topography, special attention is drawn to teaspoons, which often serve as a gateway to the fascinating world of jewelry art. Masters creating them frequently avoided striving for exact copies, focusing instead on conveying the general impression and atmospheric perception of architectural elements. Thus, Moscow as depicted on spoons is presented not as a strictly documentary image but rather in a stylized interpretation, allowing familiar structures to be seen from a new perspective. Although upon closer examination, certain discrepancies in proportions and details can be detected.
Here are six elegant jam spoons dating back to 1879, manufactured at the previously mentioned factory of V.S. Semenov. 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 jewel-like precision, the workshops worked on the depictions 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. They feature 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, facing left, which indicates the period 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.
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 craftsmanship of that time. Every stamp, every detail spoke of impeccable execution and deep respect for tradition.
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 occasions, as well as jewelry clearly demonstrate the richness of the masters' artistic language. Thus, on every item, be it a teapot or a set of salad bowls, a unique style, superior technique, and a pursuit of 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.
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 does not have a hard sign at the end of the surname, which is not an error; this resulted in "preceding" the spelling reform introduced in March 1917. The absence of the double-headed eagle on the hallmark indicates that Cheryatov did not have clients among high-profile customers, which included the Imperial Court. However, he often produced unique items that were sold through the shop of Fedor 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 A.N. Ivanov's research in his works "Masters of Gold and Silver Work in Russia (1600-1926)" (Moscow, 2002).
It is interesting that Fedor Lorié'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 store of the Moscow branch of Fabergé 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 face of the city, taking 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 masters from bygone eras has met a much more favorable fate: it is capable of surviving into new epochs, 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.
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 epochs, 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.