Nouvelles des ports

aquarelle marine - marine watercolor

Rafiots et compagnies

aquarelle marine cargo au mouillage - marine watercolor cargo ship at anchor

Nouvelles des escales

aquarelle marine - marine watercolor


Le Petit Parisien - January 29, 1925


The Art Objects of the French Embassy in RussiaA dispatch from Riga has reported, in recent days, the opening, in Leningrad, of an official investigation, in order to find a certain number of pieces of furniture and objects of art which were part of the furniture of the French embassy in the former Russian capital and which were recently discovered to have disappeared during the resumption of diplomatic relations with the Soviets. This embassy was, as we know, one of the most beautiful buildings that our country possessed abroad, and its admirable salons, from which one could overlook the Neva and where the elite of Russian society used to gather on reception evenings, contained inestimable artistic treasures.
If, as is claimed, most of them have been stolen and distributed, a personality told us yesterday who, having constantly frequented the embassy during the first three years of the war, has kept the marvels which were there the most precise memory, and if they cannot be recovered, it is an irreparable loss. To attempt to give a complete description of it is impossible, so many paintings by masters, period furniture, expensive vases, mantelpieces and unique trinkets had been accumulated there. It was, in fact, a real museum, which was the admiration of all visitors and gave a perfect and unforgettable idea of ​​French art. The most beautiful pieces, however, were tapestries from the Gobelins and Flanders, from the fifteenth, sixteenth, seventeenth and eighteenth centuries, of an absolutely marvelous finesse and richness of colour. One of the first, which decorated one of the panels of the large reception room, and which dated from 1720, measured no less than eight to nine metres in length by three and a half metres in height. It represented the Triumph of Mordecai, the Jewish king mounted on a white horse, of which one of the principal subjects of Ahasuerus held the bridle, and advancing in the midst of the prostrate crowd. Opposite, another panel of approximately the same size displayed a festival in ancient Rome. In a neighboring salon, which served as the ambassador's office, scenes from Flemish life were spread out on the walls, while a little further away, in the ambassador's favorite room, Marie-Antoinette's famous piece of furniture, comprising a sofa, several chairs, and several armchairs of admirable workmanship, constituted another jewel of this splendid residence.
Some time before the war, in 1913, I believe, all these riches had been estimated at a total of about 14 million francs, which today certainly represents more than 50 million. Under these conditions, one can understand why people were upset by their disappearance.
If they have vanished momentarily, one must hope that it is not for want of precautions on the part of our representatives in Russia. Mr. Noulens, in particular, who was our last ambassador before the establishment of the Bolshevik regime, did everything that was humanly possible to save them and preserve them in national heritage. The story of these unfortunate efforts is worth telling.


It was in September 1917, when the Germans came to occupy Riga, that the first fears for the safety of these treasures were conceived and that measures to be taken, not only to remove them from the theater of military operations, but to direct them to France, were begun to be considered. The eventuality of a German advance on Petrograd and an occupation by the enemy of the Russian capital was so well considered possible that Kerensky, who was in power, then had the masterpieces of the Hermitage Museum transported to Moscow and offered to reserve buildings for foreign ambassadors where they could, at the first danger, come and settle.

This was enough to persuade Mr. Noulens to put all his furniture in a safe place. But, rather than sending it to Moscow, he decided to send it to Stockholm. Tapestries, furniture, and works of art were consequently packed in large crates and were about to be sent to Sweden, through Finland, when, suddenly, civil war broke out in this Russian province which had just separated from the Empire of the Tsars. The struggle between the Finnish Reds and Whites, which was not to end until 1918 with the victory of General Mannerheim, quickly took on such proportions that, with all lines of communication cut, the expedition had to be abandoned.
The threat of a German push towards Petrograd still lingering, another solution was sought. When winter came, the only one that seemed feasible was to transfer the precious crates to Moscow, in order to then be able to send them, by the only railway line Jaroslav-Vologda, to Arkhangel, and from there, finally, as soon as the port was free of ice, to England and France. This project, however, was not to have any more success than the previous one. The Bolshevik revolution, which occurred at the very moment when it was going to be executed, in fact undertook to reduce it to nothing. It is enough to recall the bloody struggles which took place at that time in Moscow, the fires which devoured entire districts there, to convince oneself that the treasures of the French embassy, ​​stored anywhere, would certainly have been in more danger there than in Petrograd. The wisest course, given the events, was still to leave them in their boxes, in the very building on the Neva quay. This was the decision finally taken by Mr. Noulens who, in order to increase their security, placed the embassy, ​​where he could no longer stay, under the protection of the Danish flag. The Danish minister, Mr. de Scavenius, who combined a deep sympathy for our country with a lively admiration for French art, had not only agreed to jealously watch over our riches. He had offered to take them to France as soon as a favorable opportunity arose. Even this hope was disappointed.
The Bolshevik revolution having taken the turn we know, M. de Scavenius, far from being able to follow up on his proposal, was himself obliged to abandon his post and return to his country. Our embassy and its contents were from then on exclusively entrusted to the loyalty of the Soviet government with, as its sole safeguard, its respect for the law of nations... It does not appear that this protection was very effective... Not only were tapestries, furniture and objects of art allegedly unpacked and taken away, but the embassy strong room, with its walls and doors lined with steel, was itself allegedly forced open. In this room had been locked securities, jewels belonging to French people living in Russia, as well as certain documents of interest to national defense, in particular the files of a large metallurgical establishment. Now, it is stated that boxes and chests were broken open and the objects found in them scattered.
The telegrams from Riga attributed the responsibility for these facts to Mr. Zinovieff, who, in addition to the functions of President of the Third International, also holds the position of Governor General of Petrograd. No official news has yet confirmed this accusation. Whoever the guilty party or parties may be, the attitude of the French government could not be in doubt. It protested. It remains to be seen now what the results of the investigations that are being carried out will be, and, if they are negative, what claims we will be able to make.

A. Jullien.


The Art Objects of the French Embassy


Back - January 29, 1925