Apartment Museum Kaliningrad (Königsberg)

10 November 2019

Our second cultural day in a row (yesterday we attended an unusual art exhibition) found us heading off for a guided tour around a flat that had belonged to a Königsberg merchant in the early 20^th century. I had heard of this flat from our dear friend Victor Ryabinin ~ artist, philosopher, historian (sadly now deceased) ~ who had, as with all things Königsberg, stimulated my curiosity by informing us that the flat in question had been preserved, and restored where necessary, in all its original glory.

The flat we were going to visit today is located at 11-1 Krasnaya Street, Kaliningrad. The official name of the venue is simply but effectively ‘Apartment Museum’. A century ago, it was the home of merchant and grocery store owner, Gustav Grossmann, and his family. As the advertising leaflet boldly and honestly claims, the authentic interior allows you to ‘travel back a hundred years’ and experience life ‘as a citizen of Eastern Prussia’.

Public interest in and success of the project had prompted the exhibition owner to invest in a retro café on the site of Grossmann’s original store, which is located in the same building as the merchant’s flat, and it was here that we were rendezvousing with friend and Königsberg historian Stanislav Konovalov, known to us as Stas.

The café, which is housed in a corner section of the historic apartment building, extends from the main structure out towards the pavement. The entrance to Grossmann’s apartment is recessed, away from the pavement, a small flagstoned area leading to the front door, and can therefore be easily missed. However, the café signage does a wonderful job, calling your attention to a building of stature, which is distinctive and old-world gentrified thanks predominantly to the large show window on the ground floor and above it on the first and second floors the unusual arched windows.

The lower window has been fitted out with shelving and, even before we climbed the small flight of steps leading to the café entrance, it excited us to see a variety of bygone items beckoning us inside. The artefacts displayed included, but were not limited to, kitchen pans, clothes’ irons, ceramic pots, oil lamps and the stock in trade of antique emporiums in this part of the world, the ubiquitous German stein.

Anyone obsessed with the past could tell, from the demeanour of the building and the items displayed in the window, that you would not be disappointed when you stepped inside. The interior of the building has been subject to a complete and comprehensive retro makeover, with so much by way of antiques and collectables adorning shelves, festooned on the walls, cuddling in cabinets, swinging from the ceiling and dotted here and there that ~ as it is with the nature of such places ~ it was impossible at first glance and even ten minutes afterwards to take everything in. Certain features, however, made their mark and stayed there. Behind the front counter, for example ~ a long counter and one of impressive height ~ wall-to-ceiling shelving has been erected, and this shelving, consisting as it does of different sized compartments, the top section reserved for larger items such as a pair of antique radios, is occupied by a mixture of vintage and antique objects rubbing shoulders with the modern accoutrements that are vital for running a business like this, such as branded cups and saucers, selections of teas, different kinds of coffee varieties and so on. The café till, which may be modern, appears on the customer side of the counter as though it is made of wood, whilst the coffee machine, all made of shining chrome, is, in shape and appearance, an icon of the 1950s. Indeed, not everything in the café was what we English would call Edwardian or of early 20^th century origin: the radio in the window, which has most likely been fitted with an electronic player, was post WWII, although the music it aired pre-dated it as late 1920s or 30s.

As with the interior décor no expense in detail had been spared with regard to the café’s furniture, all of which has a heritage background, from the open-sided armchair beside the counter to the two armchairs and circular salon table in front of the window. As these chairs were occupied by patrons, who were studiously observing an unwritten code of conduct, which is, or so it would seem, to adhere to a kind of library silence in the presence of the past, we took up temporary residence in the only seats available, Olga on a dining chair with a Rococo-style splat and myself on an interesting settle, which was comfortably upholstered and had, at either end, small fitted cabinets with carved, pierced fronts.

Tea was served in two dish-shaped china cups with matching saucers, backstamped Konig… . We could not make out the exact wording, but we felt certain that the proprietor of this establishment would not have trusted us with an original Königsberg tea service.

More or less observing the silence that everyone else was bound to, we drank our tea and continued our visual assessment, taking in the various enamel-fronted advertising signs that no antique-oriented premise should ever be without and recognising three wall-mounted cast-iron signs as tram destination plates, each bearing the number of a specific tram and the Königsberg districts which each tram had served. These distinctive and, I should imagine, highly sought-after Königsberg mementoes, which remembered the route that specific trams took, I had only seen once before and that was in the art studio of our late friend Victor Ryabinin.

Apartment Museum Cafe sells antiques

Alas, these plaques were not for sale, but some of the items were. There were three large wood and glass display cabinets containing all manner of small antique pieces ~ ceramics, tableware, relics from Königsberg ~ as well as some larger items, such as a silver-topped walking cane and a silk top hat, all of which could be purchased. Both Olga and I took an interest in the two-tier, Art Nouveau plant stand, which was slightly more unusual than the standard fare, but as the asking price was considerably higher than that which I would normally expect to pay for a similar piece in England, our interest remained just that.

We finished our tea and now that Stas had arrived and wanted a smoke, we joined the other interested parties who were waiting outside on the damp and chilly streets for the venue to open.

As 11am came and went Stas took the initiative to ring the doorbell. And seconds later the door was opened by a tall lady appropriately dressed Edwardian style, that is in a high-necked blouse and long woolen dress fastened and highlighted around the waist by an enamel-buckled cinch belt.

We were shown in to the communal hallway of the building, a spacious entrance hall with a flight of six or seven steps to the ground-floor landing, beyond which could be seen a rather imposing wooden railed staircase.

The door to the time capsule we were about to enter was mid-brown wood, with long vertical paneling , the upper section letting in light through a series of small windows, the glass inside being of the wire-reinforced variety. Our little entourage filed one by one inside and as we passed ~ me gratefully ~ from the 21^st century into the past, I pointed out the doorbell to Olga, which was housed in a metal plate wrought into a typical and prepossessing Art Nouveau design.

The corridor inside the flat was rather narrow and, indeed, we were soon to discover that this merchant’s flat was of no great proportion anywhere. Naturally, the space was made considerably less by the unusual volume of people that it now occupied, all at once milling and jostling as they tried to divest themselves of their outer winter garments to place in temporary storage within the deep, but not very wide, cloakroom reserved for this purpose.

Naturally, the initial impact of the transition from now to then, from new to old, would be better served with less people present, but ventures such as these need to be administered and maintained, and I would anticipate that the fee for a private viewing might prove cost-prohibitive. Nevertheless, I did find room to reflect on how reserved and dignified Mr Grossmann’s hallway was, with its black and white tiled floor, tall dark doors fitted with ornate and heavy brass handles and its wonderful bygone telephone, equipped with open cradle and sporting a large pair of bells.

Open-plan design

When we were all partially disrobed, so to speak, we were led into the living quarters, which was fundamentally one large room divided into two halves by the simple decorative effect of wooden vertical frames and pierced and moulded fretwork where the uprights meet the ceiling.

The door through which we had entered had taken us effectively into the living room/study. In the corner of the room, in front of the window, was a desk with shelves and drawers in all the usual places and with more incorporated in the elevated section of a glazed cabinet super structure. The desk held various interesting and curious pieces, including the first typewriter I had seen manufactured by Mercedes Benz. Next to the desk there was a large double-fronted glazed cabinet, containing many antique artefacts, and next to that a small sofa and copper-topped circular table.

This table was one for us. It had a built-in standard lamp, with a large bell-shaped fabric lampshade centred above it, c.1920s. Other objects of interest in this part of the room included a small, circular gramophone table complete with horn-type gramophone, a very nice carved and stuffed-over seat corner chair, used here as a desk chair, and various wall-hung paintings and antique ornaments.

Mr Grumpy (photograph withheld)

One thing that Olga had not forewarned me about was that Stas would be translating as the guide spoke, and Stas, in turn, had not been forewarned that Mr Grumpy was present. Mr Grumpy took umbrage at Stas’ mumblings in English, and even after Stas had explained his intent and purpose, Mr G could not quite permit himself the liberty of graciousness, turning every now and then to scowl at us, until eventually he slid away. At first I felt myself lean charitably in his direction, after all had not he paid for the tour like everyone else? ~ so why would he want to be distracted by Stas’ infernal utterances? But by and by I noticed that he was pretty much dissatisfied with everybody and everything. Perhaps his wife had dragged him there when he should have been in the bar? (If that had been the case, then it was perfectly understandable!)

The guide’s talk continued for some time but the duration was necessary as we were not after all in the Palace of Versailles but in a very small, lower middle-class apartment, which, had the guide whipped us through, would have no doubt had Mr Grumpy demanding his entrance fee back!

Judging by the reaction of the rest of the group, with the omission of Mr Grumpy, the guide’s efforts appeared to meet with universal appreciation. Even with my sparse knowledge of Russian I could tell that she was a good speaker, instigating and maintaining interest and adding to it, from time to time, by drawing our attention to certain curious items, which she passed around for people to hold and examine, asking if anyone knew what they had been used for in their previous life. This technique was adopted throughout the tour, and, I am proud to say, I got most of the items right, except for a small pagoda-style, black-lacquered miniature house which, it transpired, had been a pet sanctuary for crickets, no less. As they say, and quite rightly so, you learn something new every day.

The second half of the room into which we had first been shown functioned as the dining area, the taper-legged table and simple but appealing early 20^th century chairs occupying centre place. Behind the table, set against the wall, stood a typical Könisbergian lump of a sideboard. I do not mean to sound disparaging, since these heavy, massy pieces of furniture typically adorned with heraldic and armorial appliques and supported on chunky ball and claw feet or, as in this example, large lion pads, solicit the Gothic in me, but I fully understand that their dominating presence is not, as we English are wont to say, everyone’s cup of tea.

Apartment Museum magnificent fireplace/stove

In this instance, however, it was the fireplace that got the better. Here we had a typical German glazed-tile fire-come-boiler affair ~ a masonry heater ~ distinguished above any I had seen hitherto, with the possible exception of one very ornate example, which may or may not be original, which resides within a hotel bar on a picturesque stretch of the river a few kilometers from Königsberg.

The fireplace we were privy to today owed its impressive status to its two-tiered format, and the fact that the decorative tiling was taken up from floor to ceiling, the top being surmounted with a rather elaborate carved and scrolled finial.

The metal grate doors at the lower level of the boiler also expressed an Art Nouveau intricacy, the artistic quality of which I have not witnessed elsewhere in this region.

Overall, the furnished and decorative note struck in Mr Grossmann’s flat was a mellow and conservative one, possessing and conveying an unaffected dignity. Towards this consummation the doors, all of which exhibited the same uniformity of design, added not a little. In fact, they stamped an authority of social standing on the nature of this abode, their dark-wood, tall and sober character surmounted by a dignifying architectural gable pediment.

Crotchless bloomers

The next stop on the itinerary was the bedroom. It was not at all very spacious and the two wooden single beds pushed together to make a pseudo double bed allowed for nothing more than a cabinet and a dressing table. The most remarkable bygone in this room was the mannequin, or rather the female underwear in which it was dressed, of which the principal feature was the long pantaloons. These, our guide revealed, were split-crotched in the most significant manner, which, my wife concluded, explained why men in the early 20^th century made such an eager audience when young ladies danced the can-can.

You see what I mean when I say, ‘you learn something new every day’.

We could not all get into the confines of the bed chamber, so some of us were necessitated to undertake our viewing from the hall, along which we then walked, as instructed by our guide, to the kitchen.

Nowhere does bygone domestic life impress itself more contrastively than in the kitchen setting. The kitchen décor of our modern age and the implements we use therein would seem so thoroughly futuristic from an early 20th century point of view, and also more recently for those who lived in the 1940s, as to make them impossible to envision. In years gone by kitchen items were heavy, solid-state, screwed, riveted, mechanical; they were constructed from metal and glazed stoneware, cast and wrought iron, and they were obviously made to last, which is why they are still with us. A few people aspire when they behold kitchens of yester-year to recreate something similar in their own home as a retro statement, but few people ~ only those of the most stalwart nature with a near to obsessive love of obsolescent times ~ are willing to go the whole hog, completely renouncing smooth, easy-to-clean surfaces and modern, time-saving kitchen utensils [see Art Exhibition Kaliningrad] for their more quirky but difficult to use and maintain predecessors.

In Mr Grossmann’s flat, the kitchen was quite small. Too many cooks was certainly not an option. The kitchen stove, or range, ruled the visual roost, it was, after all, an indispensable piece of home-living equipment, in this case cast iron, the front beige and green-enamel tiled and the whole raised on sculpted, ornate cabriole legs.

Above the cooker there was a row of hooks containing various kitchen utensils and, on the wall, cream and white enamel back-plates with integral hooks on which hung various straining, stirring and other culinary implements. The back plates to these utensil holders are lovingly shaped and are much sought after today by discerning collectors and interior decorators. Enamel products were, of course, the kitchen equipment stalwarts of their day, and another nice example, one of which I had seen before in Victor Ryabinin’s studio, was a three-compartmentalised kitchen-cleaning substance holder, which included a slot for a product well-known in England, Persil, the name of which, along with others, is printed on the surface.

One item that I was not acquainted with was an early refrigerator. The appliance looked like a tall, square, solid wooden box, but when the lid was lifted the top section could be seen to contain a perforated metal basket.  The cabinet space below held the provisions whilst the ice above cooled the interior. A simple mechanism indeed, but I suppose it must have worked.

The kitchen was large enough to accommodate a dresser, with glazed cabinets to the upper middle section flanked by two enclosed cabinets, in which an assortment of curious contraptions were displayed, and the storage space offered by this piece of furniture was augmented by a small larder in the corner of the room, containing a stimulating jamboree of bottles, tins and jars, many with ageing contents.

The last room on the inventory was the toilet and bathroom, and this indispensable facility was to be found on the left just inside the door. You’ve just got to love a proper toilet, being one with a high-rise cistern with a chain and porcelain hand-pull, of German heritage of course.

Whether large country estate, stately home or a relatively small apartment such as this one, the question I always ask myself at the conclusion of my visit is not did it interest me but did it have the desired effect, namely during the time I spent there was I there at the time and in a different time at the same time? The answer in the case of Kaliningrad’s (Königsberg’s) Museum Apartment is Yes. Thank you Apartment Museum and thank you Mr Grossmann!

Essential Details:

Apartment Museum (Altes Haus)

11-1 Krasnaya Str

Königsberg

Tel: Kaliningrad 33-50-60

Email: alteshaus12@gmail.com

Website: www.alteshaus.ru

Excursions:

Monday to Saturday 11am, 12pm & 3pm

Attendance at the museum at any other time, including Sunday, can be booked in advanced

Copyright © 2018-2021 Mick Hart. All rights reserved.