russian decorative arts

ALTHOUGH ARCHAEOLOGICAL REMAINS date the bone carving

tradition of the northern Russian as far back as medieval times, its

popularity only gathered widespread momentum in the seventeenth

century. Walrus ivory was in abundant supply in the Archangelsk region

bordering the White Sea. The areas most important hub for hunters and

traders exchanging goods intended for southern Russia and the regions

towards Europe was Kholmogory, whose reputation for home grown ivory

spread to Moscow. As a result, sanctions were imposed in 1649 limiting

the trade of ivory, and skilled carvers were invited to work at court.1

The carving of walrus and mammoth ivory gained further recognition

under Peter the Great when he showed a personal interest in developing it

as a hobby during his visit to Archangelsk in 1693.2 With the flow of

craftsmen between major city centres at home and abroad, stylistic and

technical influences travelled broadly. While local hunting lore and lubki

provided rich subject matter from which to draw, print sources from

further afield, such as Piscators Bible, Symbols and Emblems, or the

German engravings that inspired the eighteenth-century silver snuff

boxes, also served as design inspiration for genre scenes on ivory artefacts.3

3

Opposite and below. 2. An ivory portrait ofPaul I, after medal based on a print prototype,c.17801780. 6.5 x 6.5cm with frame.PRIVATE COLLECTION

Above. 1. A gaming chip depicting a mammoth-type creature. Northern Russia, second halfnineteenth century. 3.5 x 3cm.PRIVATE COLLECTION

Chapter 10

BONE

CH 10. BONE_Layout 1 17/12/2012 10:58 Page 2

ALTHOUGH ARCHAEOLOGICAL REMAINS date the bone carving

tradition of the northern Russian as far back as medieval times, its

popularity only gathered widespread momentum in the seventeenth

century. Walrus ivory was in abundant supply in the Archangelsk region

bordering the White Sea. The areas most important hub for hunters and

traders exchanging goods intended for southern Russia and the regions

towards Europe was Kholmogory, whose reputation for home grown ivory

spread to Moscow. As a result, sanctions were imposed in 1649 limiting

the trade of ivory, and skilled carvers were invited to work at court.1

The carving of walrus and mammoth ivory gained further recognition

under Peter the Great when he showed a personal interest in developing it

as a hobby during his visit to Archangelsk in 1693.2 With the flow of

craftsmen between major city centres at home and abroad, stylistic and

technical influences travelled broadly. While local hunting lore and lubki

provided rich subject matter from which to draw, print sources from

further afield, such as Piscators Bible, Symbols and Emblems, or the

German engravings that inspired the eighteenth-century silver snuff

boxes, also served as design inspiration for genre scenes on ivory artefacts.3

3

Opposite and below. 2. An ivory portrait ofPaul I, after medal based on a print prototype,c.17801780. 6.5 x 6.5cm with frame.PRIVATE COLLECTION

Above. 1. A gaming chip depicting a mammoth-type creature. Northern Russia, second halfnineteenth century. 3.5 x 3cm.PRIVATE COLLECTION

Chapter 10

BONE

CH 10. BONE_Layout 1 17/12/2012 10:58 Page 2

THE EVOLUTION OF ENAMELWORK from eleventh-century Kievan

Rus to twentieth-century revolutionary Moscow drew on Byzantine roots

and then wove Western European influences into its ornamental

vocabulary. It reflected Russias own position at the crossroads of trade

routes between the East and West. Indeed, enamelwork was a manifestation

of the prominence of cities that were later wiped out by political instability.

Most of the principal enamel techniques represented on the Russian auction

market today have their roots in examples discovered during archaeological

excavations. Tenth- to thirteenth-century finift-type enamel evolved

stylistically from Byzantium, which inspired both Russian and Western

European interpretations of the earlier enamel crafts.

Enamelling is a method of adhering a coloured glass compound to a

metal base. When this is achieved by incising the surface of the metal and

filling the vacant channels with enamel, it is generally referred to as

champlev. The effect is flush across the piece as the enamel decoration is

3

Above. 1. Salts by various makers, c.1890,showing the champlev technique in designsinspired by embroidered textile. The tea glassholder dating from the same period is a typicalEastern European form and often appears atauction missing its original glass liner. Height oftea glass holder 14cm; diameter of largest salt ??BONHAMS

Opposite. 3. This oklad, produced in Moscow,18991908, is enriched with elaborate filigree work.13.5 x 11cm.BONHAMS/ANDREY CHERVICHENKO

ENAMELChapter 2

CH 2. ENAMEL _Layout 1 17/12/2012 10:38 Page 2

THE EVOLUTION OF ENAMELWORK from eleventh-century Kievan

Rus to twentieth-century revolutionary Moscow drew on Byzantine roots

and then wove Western European influences into its ornamental

vocabulary. It reflected Russias own position at the crossroads of trade

routes between the East and West. Indeed, enamelwork was a manifestation

of the prominence of cities that were later wiped out by political instability.

Most of the principal enamel techniques represented on the Russian auction

market today have their roots in examples discovered during archaeological

excavations. Tenth- to thirteenth-century finift-type enamel evolved

stylistically from Byzantium, which inspired both Russian and Western

European interpretations of the earlier enamel crafts.

Enamelling is a method of adhering a coloured glass compound to a

metal base. When this is achieved by incising the surface of the metal and

filling the vacant channels with enamel, it is generally referred to as

champlev. The effect is flush across the piece as the enamel decoration is

3

Above. 1. Salts by various makers, c.1890,showing the champlev technique in designsinspired by embroidered textile. The tea glassholder dating from the same period is a typicalEastern European form and often appears atauction missing its original glass liner. Height oftea glass holder 14cm; diameter of largest salt ??BONHAMS

Opposite. 3. This oklad, produced in Moscow,18991908, is enriched with elaborate filigree work.13.5 x 11cm.BONHAMS/ANDREY CHERVICHENKO

ENAMELChapter 2

CH 2. ENAMEL _Layout 1 17/12/2012 10:38 Page 2

As his fame spread, Faberg joined the uppermost category of masters

such as the jewellery firms of Bollin, Hahn and Koechli who were not

subject to guild restrictions. Those masters, who were employed

exclusively to fulfill imperial commissions, dealt with the Court Office

which negotiated the drawing to be used, the metal required, and the

masters fee.13 Faberg was therefore amongst those who enjoyed a more

privileged relationship with the Imperial Family. Von Habsburg points out

that while Alexander III had participated with Faberg over the designs of

the eggs the Tsar presented yearly to his consort, Nicholas II apparently

left the entire creative evolution to the craftsmen so that they enjoyed

virtually total artistic freedom.14 As Fabergs fame grew, he was able to

bypass the Court Office and seemingly kept the entire world in suspense

19

FABERG

33. A silver-mounted enamel clock. Faberg,workmaster Michael Perchin, St Petersburg,18991908, with scratch inventory number 8557.The upright case enriched with transluscentmauve enamel was the last Empress favouritecolour. The success of this clock at auction waslargely due to its impeccable provenance,documented in the Berwickshire News of 1903 asa wedding present from The Hon. Lady Miller toLaura Fordyce Buchan. It was consigned by adescendant and therefore kept its unbroken lineof pedigree for almost 100 years. Height 12.7cm. BONHAMS/PRIVATE COLLECTION

Opposite. 39. A Faberg silver-mounted woodenframe, workmaster Hjalmar Armfelt,St Petersburg, c.1900. Height 24.7cm.WARTSKI, LONDON

CH 4. FABERGE _Layout 1 17/12/2012 10:48 Page 18

As his fame spread, Faberg joined the uppermost category of masters

such as the jewellery firms of Bollin, Hahn and Koechli who were not

subject to guild restrictions. Those masters, who were employed

exclusively to fulfill imperial commissions, dealt with the Court Office

which negotiated the drawing to be used, the metal required, and the

masters fee.13 Faberg was therefore amongst those who enjoyed a more

privileged relationship with the Imperial Family. Von Habsburg points out

that while Alexander III had participated with Faberg over the designs of

the eggs the Tsar presented yearly to his consort, Nicholas II apparently

left the entire creative evolution to the craftsmen so that they enjoyed

virtually total artistic freedom.14 As Fabergs fame grew, he was able to

bypass the Court Office and seemingly kept the entire world in suspense

19

FABERG

33. A silver-mounted enamel clock. Faberg,workmaster Michael Perchin, St Petersburg,18991908, with scratch inventory number 8557.The upright case enriched with transluscentmauve enamel was the last Empress favouritecolour. The success of this clock at auction waslargely due to its impeccable provenance,documented in the Berwickshire News of 1903 asa wedding present from The Hon. Lady Miller toLaura Fordyce Buc