♛Russian Imperial Fine Silver Salt Tsarist Throne Chair by Julius Rappoport 1882

Description: ♛ Tsarist Russian Imperial Silver Salt Throne Chair With Hinged Cover - 141 Years Old by Julius Rappoport Юлий Раппопорт Солонка Трон. Серебро 84. Российская империя. Юлий Раппопорт A Russian silver salt chair, or salt throne, Assay Master Иван Ефимович Константинов (Ivan Yefimovich Konstantinov),Moscow, 1882. Guaranteed to be authentic and antique. Maker Julius Alexander Rappoport, originally Isak Abramovich, was a Russian silversmith and Fabergé workmaster. In great condition, original gilding, Spectacular Large Antique Russian 84 Silver Salt Throne Chair In 1837, Ivan Yefimovich Konstantinov was appointed official purveyor of silverware to Tsar Nicholas I and in 1844 received the Imperial Warrant. Master’s mark: Ivan Yefimovich Konstantinov with the Imperial WarrantПробирный мастер Иван Ефимович Константинов.Assay’s mark: Cyrillic initials И.K. for Ivan Yefimovich Konstantinov assay master active until 1882Assay mark of Moscow, 1882silver standard: 84 zolotnikWeight : 221.48 gr. 7.812 ozEngraved GildingMaterial Silver with gildingPeriod19th centuryCountry Russian Empire reign of Александр III Александрович (Александр Миротворец)Maker's mark Cyrillic "PI", possibly for Юлий Раппопорт (Julius Rappoport) Moscow, 1882Julius Alexander Rappoport, originally Isak Abramovich, was a Russian Imperial silversmith and Fabergé workmaster. 1882 Russian Imperial salt throne. A beautiful example of Russian silver. It is hallmarked with the 84 standard mark (875 standard) the assay officers mark, the Moscow city mark and the makers mark of Ivan Yefimovich Konstantinov recorded as working from 1876 until 1882 hence quite accurately dating the piece. It has been beautifully designed and decorated. It is in super condition being free from dings splits distortions and repairs. Silver content 84 zolotnik (875/000). This appears to be a rare set. This is a Russian silver salt box also known as a salt chair or salt throne. Salt chairs were made by eminent silversmiths and were popular during the late 19th century. They represented the Russian izba, the rural house where guests were welcomed with bread and salt. The salt chair was always placed on the table near the most important guest. This chair has a hinged flap covering the cavity where the salt would reside. This example is stamped on its underside with the ship mark of the Ivan Yefimovich Konstantinov assay office, along with the number 84 denoting a minimum of 84 parts pure silver, and with the maker’s mark of Cyrillic "PI" - the mark dates to 1882. Thanks go out to the gentleman on the 925-1000 website who helped me with the mark. This salt chair measures 3” in height, 1 7/8” in width across the flap and 1 1/2” in depth. It weighs 221.48 grams. It is in very good condition. I have not polished the piece so an oil slick looking patina has developed on the chair back front, an indication of its age and untouched state. This is a wonderful addition to a collection of Russian silver - lovely display object. The geometrical ornaments and style are in perfect harmony with the function, the salt to be kept under a lid to protect it from moisture, the lid when opened is consistent with the geometric design of the front and the back. But why this artistic emphasis on an object of daily use. Salt chairs, or salt thrones, are well known in the older Russian welcoming ceremony. When entering as a guest through the door, you were invited to a piece of bread and salt, in prominent homes often from a salt cellar in silver in the shape of a chair or a throne. The chair had a container under a lid where the salt was kept, and the salt space was most often gold plated to protect the silver from the aggressive salt. The art of designing and ornamenting the salt thrones followed a strong, but varied tradition. Let us have a look into two salt thrones to have a closer understanding of the shaping and decoration of these ceremonial objects. The firm of Ivan Yefimovich Konstantinov was one of the most well-regarded jewellery firms of nineteenth-century Russia and one of the greatest innovators in the field. In 1837, Ivan Yefimovich Konstantinov was appointed official purveyor of silverware to Tsar Nicholas I and in 1844 received the Imperial Warrant. The firm was famous for its tableware and objets de vertu in the Neo-Russian style. In addition to that, Ivan Yefimovich Konstantinov’s firm produced figurative sculptural works, often representing historical or genre scenes, such as the sculptural group of Prince Dmitry Donskoy and his warriors resting under the tree after the Battle of Kulikovo – the prize-winner of the 1851 Great Exhibition in London. The gift was, compared to its size, expensive and was intended to be kept as a valuable item as well as for use. The gift reflected social status and wealth. The bigger of the salt throne is of unusual size and probably a presentation salt throne for a well recognised a respected family, maybe aristocratic. The artistic decoration of the throne is extraordinarily rich and in a puristic manner that has often been addressed as Old Russian Style. There are some significant signs and symbols referring to this design tradition. Let us look into the sources. Julius Rappoport opened his first own workshop in St. Petersburg at Ekateriniski Canal, then he moved to Moscow to become a Fabergé workmaster. Trained in Berlin, he was one of Fabergé’s rare craftsmen of Jewish origin. His maker's mark was PI and in Russian Cyrillic (IP). Isaac Ambramovich RappoportIn the form of an izbushka, on bracket feet, the back formed as a gabled timber wall centering a window, the trapezoidal base and hinged seat engraved with geometric motifs ORNAMENTAL SHAPING OF SILVER SALT THRONES FROM RUSSIAThe salt throne or salt chair is often associated with its origin in Russian rural life, its historicism and the importance of its ornamental and decorative tradition. The 'izba', the small wooden house, represented an important link to peasant life and romanticism and had a double influence on the shaping of salt chairs. First and beforehand, the izba house was the idealised place for the deep-rooted salt ceremony, to welcome guests with bread and salt. The izba, a construction is of medieval origin, sublimates the pre-Peter the Great period on a representation of Russian historicism created by the nationalist-romanticist search for the ancient Russian style. It is the image of pure Russia, still untouched by western influence.Secondly, the convertion of the izba and of house's ornamentation and carving into a squared and box-shaped surface was an excellent way to export Russian heritage inside urbanized and westernized areas. The salt throne idea, although emerging from rural circumstances, spread into the cities and was realized and refined in precious metals by urban silversmiths. The salt throne model became a standard repertoire of clever silversmiths, adopting innumerable and seldom duplicated shapes. The silver 'salt throne' is a traditional object of Russian culture. Nevertheless its use was limited to a relatively short period: the more ancient are dated around 1845-50, while their production ceased with the Bolshevik revolution of 1917. The 'salt thrones' are made of silver, pewter or silver plated metal. Often they are decorated with bright coloured cloisonné enamel. There are also 'salt thrones' with full enamel decorationsand a few examples made of birchwood of Karelia. In Russia the salt cellar was kept at the entrance of the house and a piece of bread dipped in the salt was offered to the guest as a symbol of welcome. Otherwise the 'salt throne' had the place of honour on the table. A small piece of bread was leaned on the seat (at the center of the throne) and the guest dipped the bread in the salt inside the throne. The back of the throne evokes the classic isba, the small wooden house of Russian rural architecture, which you can find nearly anywhere in the northern part of that country: the sharp-ended roof, the crossed beams and the gable with obvious reference to the house as a symbol of familiar affection, while the geometrical decorations symbolize the perfection of the marriage union.The salt cellar, presented to a young couple on the occasion of their marriage, meant 'Best wishes' or 'We wish you well'. Holes on the back of the seat represented the windows on the house front, while the superior edge evoked the characteristic undulating finish of Russian 'isbas'.The back side of the throne has usually a most refined look as, opening the salt cellar, the view of the front side is covered by the seat.Since the ancient ages and in all the cultures the salt is a symbol of life and immortality, faithfulness and friendship. The offer of salt was a common practice among Arabic people, in Northern Africa and also in Southern Italy (while in Tuscany a bit of bread with a drop of oil was usually offered).The bread evokes fertility and nourishment, both for the body and the soul. Breaking the bread and touching it on the salt represents and wishes a harmonious and long lasting friendship.Often on the back of the throne or on the seat there were phrases expressing best wishes or good fortune: 'Eat bread and salt but also follow good advice' or 'Without bread and salt, the meal is not complete'.Sometimes, a rooster, symbol of fertility and love, is represented on the throne. However this omen is not flaunted and appears only when the salt is opened (it is engraved on the underside of the seat) - In Russian culture, bread and salt are traditional symbols of health and prosperity. Bread, usually served with every meal, is held in special reverence. Perhaps the most common of all Russian adages is Bread is the staff of life. Salt, by contrast, was throughout ancient and Medieval Russian history a luxury only the wealthy could afford. In the 17th century, the rising cost of salt led to riots in Moscow, and it was only when a tax on salt was completely repealed at the end of the 19th century that it finally became affordable to the wider population. The high cost of salt in Russia reserved its use for special occasions, such as the visit of an important guest. Over time, a tradition developed, whereby an arriving guest was greeted by a woman dressed in traditional costume holding a round loaf of bread surmounted by a salt cellar or throne. The guest would break off a piece of bread and dip it in salt before eating it, thus sealing the friendship between guest and host. This tradition of presenting bread and salt lives on in Russia today, especially at official receptions where dignitaries or honored guests are greeted in a special ceremony. Salt thrones were produced by Russian silversmiths not only as ceremonial pieces but also as simply functional or decorative objects. They were part of a wider trend in the Russian visual arts of re-introducing traditional Russian forms (the kovsh is another common example) and using Russian vernacular ornament for their decoration. While most took the same basic form, salt thrones were produced in various styles. They may incorporate elements of traditional Russian folk architecture like the izba (a peasant’s house or cottage) or feature trompe l’oeil decoration and colorful cloisonné enamel.

Price: 3999 USD

Location: Redmond, Washington

End Time: 2024-08-22T06:16:36.000Z

Shipping Cost: 0 USD