The 1900-1915 St. Petersburg Tsarist Karelian Birch Chess Set by “Unknown?”.

What they did…

The Late Tsarist Karelian Birch Chessmen, famously associated with the 1909 and 1914 St. Petersburg Tournaments, are a fascinating piece of chess history, reflecting both the craftsmanship of the late Tsarist era in Russia and the cultural significance of chess during that period. These chess sets, often referred to as “Karelian Birch” pieces, are named after the distinctive wood used in their construction, sourced from the Karelian Peninsula north of St. Petersburg. Below, I’ll provide a detailed overview of their characteristics, historical context, origins, potential makers, and the broader timeline of their production.

These sets are renowned for their elegant yet sturdy design, blending elements of the Staunton style—popularized in the mid-19th century—with unique regional features. Here are some key traits:

Crafted from Karelian birch, a variety of silver birch (Betula pendula) known for its striking, figured grain caused by natural insect damage that the tree repairs over time. This wood, found primarily in the Karelian Peninsula (a region spanning parts of modern-day Russia and Finland), has a bold, ornamental appearance that became prized in Russian craftsmanship around the turn of the 19th and 20th centuries. The light wood was often paired with a darker stain or contrasting material for the opposing side.

These sets exhibit Staunton-like features, such as broad bases for stability and distinct piece silhouettes, but with notable deviations:

• King: Typically stands between 3.75” and 4.25” tall, topped with an opposite-colored finial (sometimes bone, sometimes wood shaped as a demi-orb) instead of the traditional Staunton cross or crown.
• Queen: Features a coronet or orb, also often in an opposite color.
• Bishop: Distinguished by an asymmetrical miter cut in many examples (though some sets have symmetrical cuts), a departure from the standard Staunton bishop.
• Knight: Retains the Staunton S-shape but varies in detail depending on the set.
• Rook: Incorporates merlons (crenelated tops) typical of Staunton rooks, though proportions might differ slightly.
• Pawn: Simple and functional, consistent with Staunton principles.

• Craftsmanship: These pieces were well-crafted and often nicely weighted, suggesting they were made for serious play rather than mere decoration. The finish was typically high-quality, with a varnish that aged into a distinctive patina over time.

Photographic evidence from the 1909 and 1914 St. Petersburg Tournaments confirms their use, showing players like Emanuel Lasker, José Raúl Capablanca, Alexander Alekhine, and others seated beside or playing with sets matching this description.

• 1909 St. Petersburg Tournament: Held in February 1909, this event was a landmark in chess history, organized to honor Mikhail Chigorin, a Russian chess legend who had died the previous year. It featured 19 of the world’s top players, including World Champion Emanuel Lasker, Akiva Rubinstein, and Carl Schlechter. Lasker and Rubinstein tied for first place. The tournament was a showcase of aristocratic Russian chess culture, with significant funding from Tsar Nicholas II.
• 1914 St. Petersburg Tournament: Conducted from April 21 to May 22, 1914, this was the last major tournament of the Tsarist era, held to celebrate the 10th anniversary of the St. Petersburg Chess Society. It included an elite field: Lasker (the winner), Capablanca (runner-up), Alekhine, Siegbert Tarrasch, Frank Marshall, and others. The event took place just months before World War I erupted, marking the end of an era. Tsar Nicholas II reportedly contributed to the prize fund and, according to some accounts, conferred the title of “Grandmaster” on the five finalists (though this claim is debated).

The Karelian Birch Chessmen used in these tournaments symbolize the prestige of these events. Their presence in photographs—such as those showing Lasker, Capablanca, and Alekhine—establishes their historical provenance and underscores their role in one of chess’s golden ages.

Pinpointing the exact origins and makers of these specific sets is challenging due to limited documentation from the period, but we can make educated inferences based on available evidence:

• Region of Origin: The sets were almost certainly produced in or near St. Petersburg, the cultural and political heart of Tsarist Russia at the time. The use of Karelian birch, sourced from the nearby Karelian Peninsula, strongly ties them to this region. St. Petersburg was a hub for skilled woodworkers and artisans, many of whom supplied luxury goods to the Russian elite.
• Potential Makers: While no definitive maker is named for the tournament sets, several clues point to possible candidates:
  • Turner Teich: An advertisement from Mikhail Chigorin’s 1887 chess journal, Shakhmatniy Vestnik, mentions “Turner Teich,” a wood turner located at 20 Nevsky Avenue in St. Petersburg, selling Staunton-style chessmen. This suggests a local craftsman capable of producing high-quality sets in the late 19th century. Historian Isaak Linder’s The Art of Chess (1994) includes a photo of a late 1800s St. Petersburg set with a partially legible inscription that might read “Токарь Теичъ” (Turner Teich), hinting at a connection.
  • Heitz Company: Another possibility mentioned in some collector circles is the Heitz Company of St. Petersburg, though no definitive records confirm their involvement. The set in Linder’s book bears a stamp reminiscent of English maker Jaques of London, suggesting a professional workshop with Western influences.
  • Unnamed Artisans: Given the era’s reliance on small workshops rather than large manufacturers, the sets could have been commissioned from a skilled but anonymous craftsman or cooperative in St. Petersburg, specifically for the tournaments.

Without surviving records or a maker’s mark on the tournament sets themselves, these remain speculative. The sets’ quality and the context of their use suggest they were bespoke items, possibly made to order for the St. Petersburg Chess Society or its patrons.

The Karelian Birch Chessmen belong to a broader tradition of chess set production in Russia that evolved over the 19th century, influenced by Western designs like the Staunton, introduced in 1849 by Nathaniel Cooke and popularized by Jaques of London. Here’s a timeline:

• Early 19th Century: Chess sets in Russia varied widely, from ornate decorative pieces to simpler wooden sets for play. The use of local woods like birch was common, but Karelian birch’s distinctive figure gained prominence as a luxury material around this time, partly due to its use by artisans like Fabergé in other objects (e.g., cigar cases).
• Mid-to-Late 19th Century: By the 1850s and 1860s, Staunton-style sets became the international standard for tournament play, influencing Russian designs. Ads like Turner Teich’s in 1887 show that St. Petersburg artisans were producing Staunton-inspired sets by this point, likely including Karelian birch versions. The material’s popularity grew as Russia’s elite sought unique, locally sourced goods.
• Late 19th to Early 20th Century (c. 1890s–1910s): The specific style of the Karelian Birch Chessmen—combining Staunton features with regional flair (e.g., opposite-colored finials, asymmetrical bishop miters)—likely emerged in this period. Sets dated to around 1900, such as those in the Antonio Fabiano Collection, closely resemble the tournament pieces, suggesting production began in the decades leading up to 1909. St. Petersburg, as a center of craftsmanship and chess culture, was the primary location.

Thus, these types of chess sets likely started being made in St. Petersburg in the late 19th century, with the Karelian birch variant becoming prominent by the 1890s or early 1900s, just in time for the 1909 and 1914 tournaments.

My opinion of this design…

The 1900-1915 Tsarist Karelian Birch Chessmen are an absolute gem for anyone with a passion for chess or a love of finely crafted objects. There’s something truly special about holding pieces that echo the grandeur of a bygone era, their smooth, polished surfaces inviting both admiration and active play. The wood itself—a stunning Karelian birch with its swirling, almost painterly grain—brings a warmth and character that synthetic materials simply can’t replicate. Each piece feels like a small work of art, blending practicality with a subtle, understated elegance that speaks to the skill of the artisans who shaped them.

What sets these chessmen apart is their connection to the iconic St. Petersburg Tournaments of 1909 and 1914. They’re not just tools for a game; they’re carriers of history, having witnessed the brilliance of chess titans in a time when the game was reaching new heights of prestige. This lineage infuses them with a sense of legacy that’s palpable, making every move feel like a nod to those legendary matches. For players, they offer a satisfying weight and balance that enhance the tactile pleasure of the game, while for collectors, they stand as a proud testament to a pivotal moment in chess culture.

Beyond their functionality and historical charm, these sets have an enduring appeal that transcends trends. Their design strikes a perfect harmony—rooted in tradition yet distinctive enough to stand out in any collection. Whether displayed on a shelf or arrayed on a board mid-match, they exude a quiet sophistication that’s both timeless and captivating. The Late Tsarist Karelian Birch Chessmen are more than just a chess set; they’re a celebration of craftsmanship, history, and the enduring allure of the royal game—a treasure worth cherishing for generations.