Under the Pahlavi dynasty (1925-1978), the last Iranian royal dynasty, silverware became an essential part of furniture in wealthy homes. Highly decorated candlesticks and large vases were displayed in reception rooms to be viewed and valued by their owners and visitors, while ornate tea sets served to entertain the usually frequent guests.
View of Pahlavi Avenue (Valiasr Av. today), Tehran, 1946-48, from the papers of Sir Clarmont P. Skrine held in the National Museums Scotland Library. Ref: CPS 2/3/1.
The collectors
In 2015, National Museums Scotland received a generous gift of Iranian silverware from Fouad and Nadia Kronfol in Montreal. Fouad Kronfol’s parents acquired these vessels while the family lived in Tehran from about 1920 to 1947.
The donors decided to share their silver collection, which had been treasured by the family for almost a century, between the Musée des Beaux-Arts in Montreal and National Museums Scotland. Thanks to this important donation, the Museum is now among a few public institutions worldwide which hold examples of this type of silverware.
These vessels illustrate a vital aspect of social life in 20th century Iran.
Image gallery
Bowl of silver, with three feet and chased stylized floral decoration around the outside, used as part of a set with a spoon: Iran, probably Isfahan, 1920s-1940s. Museum reference V.2015.69.1.
Spoon of silver with floral decoration on the handle, used as part of a set with a bowl, Iran, probably Isfahan, 1920s-1940s. Museum reference V.2015.69.2.
Circular dish of silver, shallow, engraved with floral decoration and two birds, hallmarked on the reverse, Iran, probably Isfahan, 1920s-1940s. Museum reference V.2015.59.
Miniature tea cup holder made of silver, with a handle at one side and floral decoration around the outside, part of a set with a saucer and a spoon, hallmarked on the bottom, Iran, probably Isfahan, 1920s-1940s. Museum reference V.2015.68.1.
Miniature saucer of silver with floral decoration around the outside rim and hallmarked in the centre, part of a set with a cup and a spoon, Iran, probably Isfahan, 1920s-1940s. Museum reference V.2015.68.2.
Spoon of silver with floral decoration on the handle, part of a set with a cup and a saucer, Iran, probably Isfahan, 1920s-1940s. Museum reference V.2015.68.3.
Circular dish of silver, shallow, engraved with floral decoration and two birds, one above the other, in the top centre medallion, hallmarked on the reverse, Iran, probably Isfahan, 1920s-1940s. Museum reference V.2015.60.
Rectangular tray of silver with a chased pattern consisting of birds and stylized floral motifs, hallmarked on the reverse: Iran, probably Isfahan, 1920s-1940s. Museum reference V.2015.65.
Miniature ice bucket of silver, with a handle and floral decoration around the outside, Iran, probably Isfahan, 1920s-1940s. Museum reference V.2015.67.
Three nested eight-pointed stars, detail of a mirrored concentric pattern on a rectangular tray. Museum reference V.2015.63.
Rectangular tray of silver with an asymmetrical pattern depicting a landscape with trees and cranes overlaid with fine curved leaves and flowers, with an embossed edge, hallmarked on the reverse, Iran, Isfahan, 1920s-1940s. Museum reference V.2015.64.
Rectangular tray of silver with an asymmetrical pattern depicting a landscape with trees and cranes overlaid with fine curved leaves and flowers, with an embossed edge, hallmarked on the reverse, Iran, Isfahan, 1920s-1940s. Museum reference V.2015.64.
Egg cup of silver, with chased decoration of animals and floral motifs around the outside and base: Iran, probably Isfahan, 1920s-1940s. Museum reference V.2015.66.
Circular tray of silver with a chased pattern of stylized floral motifs and animals, hallmarked on the front, Iran, probably Isfahan, 1920s-1940s. Museum reference V.2015.62.
Decorative surfaces
A characteristic feature of 20th century Iranian silver vessels is the resourcefulness of their dense surface treatment. The usually symmetrical patterns include floral and geometric motifs, architectural buildings and animals.
Floral and geometric motifs
Fine, curved stalks with large peonies, clusters of rosette flowers and feathered leaves are set against a plain polished background on a rectangular tray. Museum reference V.2015.64.
Three nested eight-pointed stars, detail of a mirrored concentric pattern on a rectangular tray. Museum reference V.2015.63.
Architecture and animals
A mosque with an onion shaped dome and two minarets on a rectangular tray. Museum reference V.2015.64.
Pheasants flanking a lion face on a round tray. Museum reference V.2015.62.
An unusual piece
One of the rectangular trays in this collection is a rather unusual piece. Unlike the other vessels, it shows an asymmetrical pattern. Straight lines divide the surface in sections. They are filled with a wealth of elegantly feathered leaves and curved flowers sprays with birds and architectural buildings amongst them.
It is likely that this piece was made as a kind of pattern book or as a model to demonstrate the style of the workshop to customers.
Image gallery
Rectangular tray of silver with an asymmetrical pattern depicting a landscape with trees and cranes overlaid with fine curved leaves and flowers, with an embossed edge, hallmarked on the reverse, Iran, Isfahan, 1920s-1940s. Museum reference V.2015.64.
Decorative techniques
Engraving (Persian lit. qalam-zani) and embossing (Persian lit. monabbat-kari) are two of the techniques which were applied to achieve the ornamentation of these vessels. Engraving means cutting grooves into the surface by removing the silver. Unlike embossing, this technique works by sinking the material, without any loss of the precious metal.
Deep grooves were cut into the silver to outline the flower motif as well as the geometric background pattern on a small bowl. Museum reference V.2015.69.1.
Embossing was used to achieve the sculptured border of this tray. After hammering the desired shape from the reverse, the outlines of the leafy scrolls and flower heads on the front were refined by chasing. Museum reference V.2015.64.
Makers’ marks
Nine vessels in the collection are hallmarked. The makers’ marks include Reza, Husain Ehtemam, Ja‘fari, Mahmud Rabi‘i, and Husain Parvaresh. Some names can be associated with renowned families of silversmiths in Isfahan.
The standard mark on all items is 84. This is a Russian mark and was used by silversmiths in Iran in the first half of the 20th century. An obsolete Russian weight measure, 84 zolotnik means a fineness of 875 parts of silver per thousand parts of the metal alloy used.
Image gallery
Three marks from left to right: silver standard 84, maker’s mark محمود ربیعی Mahmud Rabi‘i, silver standard ۸۴ 84. Museum reference V.2015.65.
Two marks from top to bottom: maker's mark بیریائی Biria'i, silver standard ۸۴ 84. Museum reference V.2015.67.
Two marks from left to right: maker’s mark رضا Reza, silver standard ۸۴ 84, museum reference V.2015.63. The three plates (museum reference V.2015.59-V.2015.61) are also marked Reza.
Three marks from top to bottom: town mark اصفهان Isfahan, maker’s mark حسین اهتمام Husain Ehtemam, silver standard ۸۴ 84. Museum reference V.2015.64.
Two marks from top to bottom: maker’s mark حسین پرورش Husain Parvaresh, assay office (?) جهرمی Jahrami and silver standard ۸۴ 84. Museum reference V.2015.68.1.
Two marks from left to right: silver standard ۸۴ 84, maker’s mark جعفری Ja‘fari. Museum reference V.2015.62.
