A LA VIEILLE RUSSIE

Where the Unusual is Usual SM

Established 1851

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A LA VIEILLE RUSSIE

Silver bellpush depicting ‘The Princess Of The Sea’ with a ruby-setheadband including the push, and further set with four cabochonemeralds. By Fabergé. Moscow, ca 1900. W: 4 3/4 in. The Princess of the sea appears in Rimsky-Korsakov’s lavish operaSadko, complete in 1896. Based on the 11th century Novgorod legendof the minstrel Sadko, it depicts him beguiling the Princess at the edgeof Lake Ilmen, eventually descending to the depths of the sea andmarrying her amid great celebration.Exhibited: Fabergé, A La Vieille Russie, 1983, cat. pg. 93, no. 297;Fabergé, Hofjuwelier der Zaren, Munich, 1986-1987, cat. pgs. 116,117, no. 50.

Bloodstone box carved as the head of a hippo, the gold mount withscrolls and ribbon border, and with ruby and diamond thumbpiece.By Fabergé, workmaster Michael Perchin. St. Petersburg, ca. 1900.L: 3 1/4 in.Provenance: A La Vieille Russie, Paris.Exhibited: Fabergé, A La Vieille Russie, 1983, cat. pg. 123, no. 452;Fabergé: Imperial Jeweller, 1993-1994, cat. pg. 355, no. 247; Carl Fabergé: Goldsmith to the Tsar, Nationalmuseum, Stockholm,June 6-Oct. 19, 1997.

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Long multi-colored conch pearlnecklace with faceted diamondinterlinks strung on platinum links.Contemporary. L: 62 in.(94 conch pearls approx. 139 cts.;93 diamonds approx. 28 cts.)

Pair of pink coral and gold shoeearrings set with turquoise. English, ca. 1890. L: 1 3/4 in.

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Natural fancy-coloredsapphire necklace set ingold. English, ca. 1890. L: 14 1/2 in.

Pair of Imperial topaz and old-minediamond pendant earrings set in silver and gold. English, ca. 1880. L: 3 1/4 in.

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Victorian multi-colored zircon drop necklaceset in gold and strung on a black silk cord.English, ca. 1880. L: 17 1/4 in.

Diamond tulip button set in silver mountedas a brooch. Made for Catherine the Great.Ca. 1780. L: 1 1/2 in.

Russian Crown Jewels

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Natural black diamond and old-minediamond cluster pendant set in platinum and gold. English, ca. 1890. L: 1 in. (excl. bail) (black diamond 37.02 cts.)

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Arts & Crafts Siberian amethystsautoir set in ornamented gold, withpear-shaped drop and removablebracelet. American, ca. 1900.Necklace: 25 in., Drop: 3 1/4 in.,Bracelet: 7 in.

Large Siberian amethyst ring set ingold, each shoulder set with fourbrilliant-cut diamonds.American, ca. 1940. (approx. 70 cts.)

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Victorian Siberian amethystflower brooch/pendant withclustered old-mine diamond

center, set in gold. English, ca. 1860. L: 1 1/2 in.

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Victorian half-hoop ring set with threediamonds in a carved scrolling gold mount.English, ca. 1880.

Georgian light blue sapphire andold-mine diamond cluster ring, setin silver and gold. English, ca. 1830.

Edwardian old-mine cushion cut diamondring set in platinum with baguette shoulders.English, ca. 1910. (approx. 2.06 cts. E VS2)

Round brilliant-cut diamond engagement ring, setin an open-work and milligrain pavé diamond andplatinum setting. American, ca. 1910.(center stone approx. 1.43 cts. I color VS1 clarity)

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Aquamarine and coral beadnecklace with gold clasp.Contemporary. L: 17 in.

Art Deco aquamarine and diamondear climber earrings set in platinum.American, ca. 1930. H: 1 in.

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Natural graduated pearl necklacewith three-diamond clasp. English, ca. 1900. L: 17 3/4 in.

Natural pearl necklace graduated from 5.5 mm to10.9 mm with approx. 5 cts. marquise diamond clasp.By Gattle & Co. Chicago, ca. 1920. L: 21 1/2 in.

18k gold bangle featuringnatural pearls along a centerline of diamonds.French, ca. 1930. D: 2 1/14 in.

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Victorian solitaire old-mine diamondring claw-set in gold with scrolledshoulders. English, ca. 1880.(approx. 1.40 cts.)

Fancy-colored diamond fleur-de-lys bracelet setin gold. By Julius Cohen. American, ca. 1950. L: 7 1/4 in. (approx. 21 cts.)

Edwardian period platinum bracelet composed of alternating pink agate and blue chalcedonypanels with centering diamond floral motifs.Possibly Dreicer, N.Y. American, ca. 1915. L: 7 in.

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Woven 18k gold wide bracelet set with rubies, emeralds, anddiamonds by Georges L’Enfant, a renowned workmaster for Cartier,who also produced jewels for Hermès and Van Cleef & Arpels.French, ca. 1950. L: 7 1/8 in.

Georgian woven gold bracelet composed of linked, scrollingpalmettes. In original case. English, ca. 1800. L: 7 3/8 in.

Two-color gold ‘machine aesthetic’bombé ring. French, ca. 1930.

Pair of gold Etruscanrevival pendant earrings. English, ca. 1890. L: 1 7/8 in.

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Natural black pearl, emerald, and diamondplatinum chain with earlier emerald and diamondclasp. English, contemporary. L: 17 3/4 in.

Large emerald anddiamond heart-shapedlocket in the form of apadlock. English, ca. 1880.L: 2 in.

Art Deco natural 5.56 ct.Colombian emerald ring, set in platinum with diamondshoulders. American, ca. 1920.

Early Victorian cannetille gold dropearrings set with old-mine diamondsand natural Colombian emeralds. English, ca. 1840. L: 1 7/8 in.

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Pair of Victorian expandable bracelets set in gold with old-minediamonds and guilloché enamel. The blue enamel bracelet with old-mine diamond-set links; the green enamel bracelet with naturalpearls and old-mine diamonds. English, ca. 1855.The green enamel bracelet inscribed: “Eliza Hook, from heraffectionate husband, xmas, 1855.”D: 2 in. (unstretched)

Victorian puffy rock crystal heart pendant/broochsurrounded by demantoid garnets and diamonds,set in gold. English, ca. 1890. L: 2 in. incl. bail.

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Monumental ‘machine aesthetic’ 18k gold ring setwith calibre sapphires and diamonds. By Henri Lavabre. Paris, ca. 1930.Henri Lavabre was a major Parisian workshop, notedfor producing Cartier jewelry between 1906-1921.

Mid-century natural cabochon sapphire solitairegentleman’s ring, set in 18k gold.By Cartier. Paris, ca. 1950. (approx. 5 cts.)

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Art Deco sapphire and diamond floral clip earrings,set in platinum. English, ca. 1930. L: 1 1/4 in.

Natural 8.75 ct. Ceylon sapphire ringset in platinum with lunette diamondshoulders. English, ca. 1950.(approx. 1.5 cts. of diamonds)

Art Deco platinum-set ring featuring threebaguette diamonds surrounded by pavéround diamonds and graduated calibresapphire shoulders. American, ca. 1925.

Horizontally set marquise diamond ringwith calibre sapphire surround, mountedin platinum. American, ca. 1930.(diamond approx. 1.2 cts.)

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Art Deco bracelet with calibre rubies and round,baguette and French-cut diamonds, set in platinum. By Drayson. London, late 1930s. L: 7 in.(approx. 13 cts. of diamonds and 8 cts. of rubies)

Platinum ruby and diamond bracelet. American, ca. 1950. L: 6 3/4 in. (53 cushion-shaped rubies approx. 30 cts., 209 round diamonds approx. 8 cts.)

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Victorian Burmese ruby and old-mine diamondthree-stone drop earrings, set in silver and gold.English, ca. 1890. L: 3/4 in.

Victorian coiled snake bracelet with gold scaledbody and an old-mine diamond and ruby head andtail, set in silver. English, ca. 1880. D: 2 1/2 in.

Three stone Burma rubymen’s ring, set in platinum. American, ca. 1930. (approx. 3.2 cts.)

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Natural pearl earrings, inplatinum and diamond settings,topped with Asscher-cutdiamonds. English, ca. 1910. L: 2 1/4 in.

Pair of 15k gold coach earrings withgranulated decoration, each opens toreveal old-mine diamonds weighingapprox. 1.65 cts. and 1.56 cts. Together with its original invoice.English, 1892.

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Art Nouveau gold, enamel and diamond ring, in the form ofFather Christmas. By Rene Lalique and Paul Briançon.French, ca. 1890.

Arts and Crafts 14k gold ring with blackenamel floral designs and three smalldiamonds surmounting the high setting.American, ca. 1910.

Bloodstone, jasper, and agate sash broochdesigned as a Celtic cross, set in gold.Scottish, ca. 1890. W: 1 1/2 in.

Carved hardstone cameo of woman’s headwearing diamond necklace, earrings, and tiara,with a rose diamond border. Set in silver andgold. English, mid nineteenth century. L: 3 in.

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Antique turquoise and diamond parure set in silver and gold, ca. 1830. • Necklace designed as a series of graduating oval turquoise and

old-mine cut diamond clusters, each suspending a turquoise anddiamond drop. Wearable as a tiara. L: 16 in.

• Pair of bracelets that form a choker composed of lines of diamondsand turquoise with detachable clusters. L: 6 in.

• Pendant brooch composed of a lozenge cluster suspending tieredcluster drops. L: 3 3/8 in.

• Pair of pendant earrings designed as triple cluster drops. L: 2 in.

Provenance:The Countess Marie of Flanders, Queen Elisabeth of BelgiumQueen Maria José of ItalyThis parure was a wedding present from the King and Queen of theBelgians to Princess Marie José and belonged to the Countess ofFlanders, the princess’ grandmother. She wore it two days before hermarriage to Crown Prince Umberto at the reception in the QuirinalPalace on 6 January 1930. The necklace was mounted as a bandeau inthe fashion of the period, and the Milanese fashion house Venturacreated a Royal train, embroidered in silver thread with flowersentwined with the Savoy knot, to match the parure.Princess Maria Gabriella of Savoy, inherited from her mother in 2001

Illustrated: Maria Gabriella and Stefano Papi. Jewellery of the Houseof Savoy. Florence: Electa, 2007. 130-131.

The Savoy Suite

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Art Deco geometric black and turquoise enamel brooch in a platinum anddiamond setting. By Georges Fouquet. Paris, 1928. L: 2 1/2 in.Parisian jeweler Georges Fouquet (1862-1957) joined his father, Alphonse (1828-1911), in the family business in 1891. Most famous forhis Art Nouveau creations, his work spanned multiple styles as he adaptedto changing times. This brooch reflects the new aesthetic of the Art Decomovement, when sinuous lines and organic forms were abandoned in favor of geometric designs and bold colors.

Art Deco jade, pavé diamond, onyx and blackenamel dangling Chinese lantern style earringsset in platinum. French, ca. 1920. L: 2 1/2 in.

Art Deco style cabochon ox bloodcoral ring set with black enamel anddiamonds in platinum and gold.English, ca. 1950.

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Black onyx and diamondnecklace and earrings, set ingold. English, ca. 1880.Necklace L: 16 1/2 in.

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Art Deco graduated round brilliant diamondswag necklace set in alternating square and circleplatinum mounts. American, ca. 1935. L: 16 1/2 in.

Asscher-cut diamond engagement ring set inplatinum, with baguette and milligraindiamond shoulders. American, ca. 1925.(2.40 cts. G VS1 GIA Cert.)

Art Deco dragonfly brooch with pavé andbaguette diamonds, enamel detail, and rubyeyes, set in platinum and gold.By Janesich. Paris, ca. 1930.W: 2 1/4 in., L: 1 7/8 in.

Large Art Deco double clip brooch withfaceted onyx and baguette and round brilliantdiamonds, set in platinum. American, ca. 1925. L: 4 in.

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Art Deco scarf pin set inplatinum with modern round

brilliant and baguette-cut diamonds.By Cartier. Paris, ca. 1925. L: 1 3/8 in.

Belle Epoque angel wing tiara setwith old-mine diamond ‘feathers’,mounted in silver and gold withsilver headband. English, ca. 1900. W: 3 5/8 in.

Pavé diamond ring set in platinum inthe form of a helmet. French, ca. 1935.

Edwardian old-mine and brilliant-cut diamondnavette ring, mounted in a long open-work andmilligrain platinum setting. American, ca. 1910.(approx. 4 cts. total, center stone approx. .75 cts.) L: 1 1/2 in.

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Tremblant old-mine diamond peony spray broochmounted in silver and gold. This circa 1870 jewel symbolizes prosperity,strength, and plenty, and recalls the Greater Coatof Arms of the Russian Empire. L: 4 in. (approx. 29 cts.)

Old-mine diamond tremblant floral spray,set in silver and gold. English, ca. 1860. L: 5 in. (approx. 18 cts.)

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Old-mine diamond Maltese cross setin silver and gold. English, ca. 1800.L: 2 1/2 in. incl. bail.

Victorian diamond heart pendant setin silver and gold, with rock crystalback. English, ca. 1890. L: 7/8 in. incl. bail. (approx. 2.5 cts.)

Pavé diamond heart brooch set inplatinum and gold. It can also beworn as a pendant with a goldcollapsible bail. American, ca. 1920.L: 1 5/8 in. (approx. 10 cts.)

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Gold, enamel, and diamond pansybrooch suspending a matchingpansy watch. American, ca. 1900.L: 2 3/4 in., W: 1 1/4 in.

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Art Deco cabochon moonstone andmodern-round and baguettediamond earrings set in platinum.American, ca. 1930. W: 1 in.

Art Deco ‘tutti frutti’ style sapphire,diamond, emerald, and carved ruby bracelet,set in platinum with black enamel. American, ca. 1930. L: 7 3/4 in.

Platinum ‘machine aesthetic’ bracelet composed of linkedcircles, each centered by four round brilliant diamonds.English, ca. 1930. (approx. 3 cts.). L: 7 1/4 in.

Art Deco diamond and platinumfour-leaf clover earrings.American, ca. 1930.

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Diamond and green garnet slithering snakebrooch, set in platinum and gold, and with aruby-set head. American, ca. 1900. L: 2 1/4 in.

Victorian old-mine diamond snake broochwith ruby eyes coiled around a cushion-cutCeylon sapphire, set in silver and gold. With chain fitting. English, ca. 1880. (sapphire approx. 3.5 cts.) W: 1 1/8 in.

Ruby and diamond coiled snakebrooch with emerald eyes andnatural pearl drop, set in silverand gold. English, ca. 1890.L: 1 3/4 x W: 1 3/8 in.

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Gold and enamel articulated snakenecklaces, with ruby eyes. Each can beworn in multiple ways. Swiss, ca. 1840.

Lengths: 26 1/4 in., 20 1/2 in., 21 in.

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1920s ornate pavé diamond rooster brooch set inplatinum with calibre ruby eye, comb and wattles,and a baroque pearl breast. English, ca. 1920.W: 1 1/2 in.

Silver-mounted chrysolite brooch in theform of an eagle poised in flight.Iberian, ca. 1770. Approx. 2 1/2 in.

Late eighteenth century Vauxhallglass butterfly brooch set in silver. By Vauxhall Glassworks. London, ca. 1790. W: 1 1/2 in.

Pavé diamond brooch in the form of amonkey with a sprung tail, holding anatural pearl. Set in silver and gold. English, ca. 1890. W: 1 7/8 in. 37

Cat and dog pavé diamond and enamelbrooches mounted in silver and gold.English, ca. 1890. H: 1 in.

Art Deco pavé diamond swan brooch set inplatinum with a gold beak, swimming on apond of calibre-cut sapphires. By Hartz. French, ca. 1920.W: 1 1/4 in., H: 1 in.

Large natural baroque pearl swanbrooch set in platinum with pavédiamonds, sapphire eye and goldbeak. By Wolfe & Co. English,contemporary. L: 2 3/8 in.

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Victorian buff-cut garnet cross set ingold with a cabochon garnet anddiamond set bail. English, ca. 1890.L: 3 1/4 in.

Enamel cross pendant with pinkand white sapphire cluster atcenter, the back with an engravedleaf design. English, ca. 1900. L: 3 in. incl. bail.

Large 15k gold cross pendantdecorated with red enamel andnatural pearls. English, ca. 1890,probably by Robert Phillips.L: 4 1/2 in. incl. bail.

Renaissance revival gold pendantcross set with cabochon moonstonesand blue plique-à-jour enamel.English, ca. 1950. L: 3 in.

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Two-colored gold and amethystpendant in the form of a cross.English, early 19th century. L: 4 1/8 in. incl. bail. (approx. 66 cts.)

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15k gold and enamel Union Jack brooch.English, ca. 1890. L: 1 3/4 in.

Platinum and diamond gem-setbrooch of a tall ship, with a carvedlapis lazuli sea. By J.E. Caldwell.American, 1930. L: 1 1/4 in.

Mid century American flag broochset in gold with rubies, diamonds and

sapphires. American, ca. 1960. W: 1 1/8 in.

Pavé diamond and calibre sapphireFrench boater hat earrings, set inplatinum. By Drayson. London, ca. 1930.L: 1 1/4 in.

14k gold link bracelet featuring design alternatingbetween seahorses and enamel signal flags spelling

out “I LOVE YOU.” By ‘His Lordship NYC.’American, ca. 1930. L: 7 in.

Set of three gold and enamel tropical fish broochesBy H. Kaston. American, ca. 1980. • Top: “Gill” Moorish Idol fish rendered in

18k gold with a tiger-eye eye, warm yellowdiamonds, bright white diamonds and blackenamel. L: 2 in.

• Middle: “Nemo” Clownfish in 18k gold withbright white diamonds and black enamel stripes,and golden scales visible through bright orangeguilloché enamel. L: 2 in.

• Bottom: “Dori” Emperor Angelfish rendered in 18k gold with a cabochon sapphire eye, warmyellow diamonds, bright white diamonds, andvibrant royal blue and black enamel. L: 2 1/2 in.

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Articulated gold and silver locomotivependant/charm. American, ca. 1890.W: 1 1/2 in.

Pair of 18k gold double cufflinksdepicting a race car driver and amatching stickpin. English, ca. 1905.

18k gold Jaguar car pendant/charm.By Cartier. London, ca. 1970.

W: 1 1/4 in. incl. bail.

The Ford BraceletCharm bracelet consisting of five gold and black enamelcharms depicting various Ford motor cars, the reverseengraved with each model’s name and date. Bracelet byTiffany & Co. New York. Charms by O.C. Tanner, a SaltLake City jeweler who specialized in corporate gifts. American, ca. 1940. L: 7 7/8 in.

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Antique stickpin designed as a vintage car withpavé diamond body and four rotating wheels,set in platinum and gold.By Tiffany & Co. New York, ca. 1900. W: 1 in.

Demantoid garnet and diamond carriagebrooch set in gold and platinum.English, ca. 1890. W: 1 3/4 in.

Antique brooch designed as a vintage carwith pavé rose-cut diamond body, rotatingdiamond wheels and ruby detailing.American, ca. 1900. W: 1 3/8 in.

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Gold and enamel “Turk’s head” stickpin,battery-powered to animate eyes and jaw. By Gustave Trouvé and Auguste-GermainCadet-Picard. French, ca. 1867.Head: L: 7/8 in., W: 1/2 in.

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Emerald Nubian stick pin withcarnelian and rose diamonds. French, ca. 1840.Head: L: 1 1/4 in., W: 5/8 in.

Gold stick pin with silver skull with gold and blueenamel dunce’s hat. French,mid nineteenth century.Head: L: 1 1/8 in., W: 5/8 in.

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14k gold square chamfereddouble cufflinks with goldstriations and central calibreemeralds. American, ca. 1930.

Antique engine-turned 18k goldornate oval double cufflinks. By Tiffany & Co. New York, ca. 1905.

Pair of gold, pearl, ruby, and diamondcircular cufflinks. By Friedrich Koechli.St. Petersburg, 1880-1890. D: 15/16 in.

Pair of gold, pearl, and diamondcircular cufflinks. By Samuel Arndt. St. Petersburg, ca. 1890. D: 7/8 in.

Ex-collection Grand Duchess Maria Pavlovnaand Grand Duke Vladimir Alexandrovich,brother of Tsar Alexander III.

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Art Nouveau gold lozenge form doublecufflinks set with 1.5 ct. cabochon sapphiresand ornamented with gold swirls. ByTiffany and Co. New York, ca. 1900. In original box.

Moghul-style emerald double cufflinkswith floral carving, set in gold.English, ca. 1890.

Art Deco blue enamel and 14k goldsquare panel cufflinks, with incurvatecorners and decorated with a rosemotif. By Carrington & Co. Newark, ca. 1925.

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Art Deco dress set of red and black enameldouble cufflinks with four buttons and twostuds. By Van Cleef & Arpels. Paris, ca. 1920.

Carved moonstone mask double cufflinkswith rose-cut diamond surround, mountedin rose gold. English, ca. 1870.

Art Deco octagonal lapis lazuli doublecufflinks set in platinum with modernround brilliant diamond surround.English, ca. 1920.

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Gilded silver miniature samovar with ebonyhandles and knobs, two removable lightersand a fitted central wick. By Fabergé, workmaster Anders Nevaleinen.St. Petersburg, ca.1896-1908. H: 5 3/4 in.Provenance: The Forbes Magazine Collection, New York

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Two-color gold, translucent pale blue white enamel over a guillochéground egg-form bellpush with a girdle of chased leaf-tips. Contained in original fitted hollywood box. (Petrograd) By Fabergé, workmaster Henrik Wigström. St. Petersburg, ca. 1915. L: 1 7/8 in.Appears in Wigström drawings, published in Tillander-Godenhielm.Schaffer, Ilich, Schaffer, 2000, Golden Years of Fabergé: Drawings andObjects from the Wigström Workshop. A La Vieille Russie and Alain deGourcuff, album p. 275, with production number 14656 and date 19 III.

Miniature egg pendant in blue and yellowenamel (the Rothschild racing colors) anddiamonds. By Fabergé. ca. 1910. L: 5/8 in.

Fabergé egg-form hanging bellpush

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Miniature egg and shield pendants with the monogram and crownof Alexander III. Gunmetal and gold. By Fabergé, workmaster Michael Perchin. St. Petersburg, ca. 1894Egg: L: 1 in. incl. bail, W: 3/8 in. Shield: L: 1 1/4 in., W: 11/16 in.This gunmetal and gold pendant and miniature egg bear themonogram and crown of Tsar Alexander III (1845 -1894). Thereverse of the shield pendant features the date and time of hisdeath. Of historical and sentimental value, these memorial tokensbelonged to his eldest daughter, Grand Duchess XeniaAlexandrovna (1875-1960), who recorded that she received themfrom her Aunt Michen (Grand Duchess Maria Pavlovna the Elder(1854-1920).

Of Personal and Historic Significance

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She recorded the eggpendant in her inventory ofEaster eggs, a collection ofdescriptions and watercolorillustrations of Easter eggsand other smaller pieces ofjewelry that she acquiredbetween 1880 and 1905,totaling 499 pieces. Thisinventory page is illustratedin the catalogue for the 2002exhibition, Treasures of

Russia – Imperial Gifts, held at Amalienborg, Christian VII’sPalace in Denmark.Xenia passed the pendants onto her son, Prince AndreiAlexandrovich, who passed them on to his daughter, PrincessOlga Andreevna. Accompanying the pendants is a letter fromPrincess Olga stating their provenance.Gunmetal’s dark hue aptly signifies mourning, and its sturdy naturemake it a fitting tribute to the great autocrat.An alloy of copper, tin, and zinc, gunmetal is a resilient material,valued for its ability to withstand heavy loads and resistance tocorrosion. These qualities match Alexander III’s character andstrength of body.The Victorian journalist and biographer Charles Lowe describedAlexander III as “the man with the iron mask”, referring to hisreserved public persona, but the Tsar was a man of iron in manyways.1 The assassination of his father, the great reformer AlexanderII, significantly impacted the course of his reign. Hardened by theconsequences of his father’s leniency, Alexander III ruled with aniron fist and staunchly defended autocracy. Described as“herculean” and the “Russian Samson,” the six foot four burly Tsarwas an imposing, strong man. He could bend, and then re-straighten, iron fire pokers, crush silver rubles in his fingers, andtear double packs of cards in half, and he often performed these

1 Charles Lowe. Alexander III of Russia. London: William Heinemann, 1985.

marvels for the amusement of hischildren and assembled guests. His great strength famously cameof use in 1888 when the Imperialtrain derailed, and Alexander heldup the wrecked carriage’s roof onhis shoulders while his familyescaped. No one at the time couldhave guessed that this strong bodybelied growing weakness. In thismoment of heroism, the Tsarbruised a kidney, considered to bethe root of the nephritis thatultimately killed him. In the wordsof biographer Charles Lowe,“nobody had any idea that amalignant disease was gnawing atthe apparently robust man in theprime of his life.”

Years later after the accident, in 1894, Alexander’s health began todeteriorate. Diagnosed with terminal kidney disease that year, aheavy cold exacerbated an already weakened condition. Hisworsening health in September prompted a move to the countrypalace of Livadia in the Crimea, hoping he would improve in awarmer climate. Unfortunately, his condition worsened.Biographer Charles Lowe wrote,“The Empress [Maria Feodorovna (1847-1928)] was almostbeside herself with grief, but up to the last minute she nursedher husband with the most devoted care. She took no rest.Day and night she was beside her consort, holding his handin hers, keeping back her tears with all her strength, andsoftly whispering words of hope. ‘I have even before mydeath got to know an angel,’ the Tsar said, pressing her handto his lips.”

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Portrait of Alexander III, oil on canvas, 1886, I.N. Kramskoi(1837-1887), Wikimedia Commons

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Maria wrote to her mother,“He was fully conscious until the last moment, speaking andlooking at us until he quite calmly fell asleep into eternal lifewithout any great struggle and in my arm!Oh, but how heart-rending it was! Incredible that one cansurvive such sorrow and despair, and now the eternallonging and emptiness everywhere where I am! How shall Ibear it? And the poor children, how desolated they are, too,and poor sweet Nicky especially, who has to start thatburdensome life while still so young. They are so charmingwith me, all of them, so full of love and warm feelings. Alickyalso shows me so much fond sympathy, which really bindsher still closer to my heart.”

While eggs are traditionally emblematic of life, this egg pendantembodies grief, a sentiment more connected to the famous FabergéEaster eggs than their opulence implies. Tsar Alexander III beganthe Romanov tradition of commissioning the eggs. Wishing tocomfort Maria, traumatized by Alexander II’s death, he had theidea to give her an Easter egg in the style of one she liked from herchildhood home in Denmark. So pleased with Fabergé ’s creation,Alexander and Maria granted him an Imperial Warrant to make anEaster egg every year, in addition to other commissions.2

Initially a remedy for grief, Fabergé eggs became annual tokens ofaffection representing life. To this day, they are forever associatedwith Romanov splendor.It is interesting to note the incredibly personal nature of these twopendants, as records suggest that these were the only ones created.While simple in ornament, these gunmetal and gold egg and shieldpendants are no less precious. Together, they are a testament to theloss of a tsar and his lost world.

From the ALVR blog: www.alvr.com/category/blog/

2 Fabergé, a loan exhibition for the benefit of the Cooper-Hewitt Museum, theSmithsonian’s National Museum of Design, April 22-May 21, 1983. New York: A La Vieille Russie.

Two-color gold-mounted enamel andbloodstone gum-pot. By Fabergé,workmaster Henrik Wigström.St. Petersburg, 1903-1904. H: 3 5/8 in.Provenance: The Forbes MagazineCollection, New York

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Large obsidian carp with moonstone andyellow enamel eyes. By Fabergé. L: 6 1/2 in.Exhibited: Fabergé, A La Vieille Russie,1983, pgs. 31, 117, no. 419.

Obsidian pug with diamond-set eyes.By Fabergé, ca. 1900. H: 1 in.

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Lozenge brooch with a central cabochon moonstone,set with rose diamonds, and white enamel. By Fabergé, workmaster August Hollming. St. Petersburg, ca. 1900. W: 1 1/4 in.

Jeweled gold Imperial presentation brooch. By Fabergé, with theworkmaster’s mark of August Hollming. St. Petersburg, ca. 1913,scratched inventory number 3495. D: 1 in.Provenance: Supplied by Fabergé to the Imperial Cabinet on January 10,1913 at a cost of 150 roubles under the number 3495; entered into theCabinet’s stock under the number 289. Discharged in 1916 for the journeyof Dowager Empress Maria Feodorovna (1847-1928) to Kiev.Decommissioned on May 23, 1917; the brooch possibly remained in thepossession of the Dowager Empress.

Circular gold brooch enameled white, with a brilliant redenamel Red Cross in the center, the whole encircled byrose diamonds. By Fabergé, workmaster Michael Perchin.ca. 1895. D: 1 in.Maria Feodorovna became involved with the Russian RedCross at the time of the Russo-Turkish War in 1877 andlater became President.

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Scarab and diamond double cufflinks.By Fabergé, ca. 1900.

Gold and jeweled car key pendant.By Fabergé.It is hanging from a gold-mountedgrosgrain fob. French, ca. 1900. L: 6 3/8 in.

Gold and diamond-set white enamel cigar cutter with matchingpocket knife. By Fabergé. ca. 1900.Knife: 3 in. incl. bail, Cigar cutter: 2 1/2 in. incl. bail.Provenance: The Forbes Magazine Collection, New York

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Gold basketweave design gold box withcabochon ruby and rose diamond thumbpiece.By Fabergé, workmaster Erik Kollin.St. Petersburg, ca. 1880. L: 1 3/4 in.

Miniature rose and yellow gold waste basket,set with enamel half rouble coins of Empresses Elizabeth and Catherine.By Fabergé, workmaster Michael Perchin.St. Petersburg, ca. 1900.H: 1 3/4 in.

Two-color gold and tiger agate tray.By Fabergé, workmaster Michael Perchin. St. Petersburg, ca. 1895.L: 3 in., W: 2 1/4 in.

61

Pair of aventurine and silver dolphin-form candlesticks.By Fabergé, workmaster Anders Nevaleinen. St. Petersburg, 1890. H: 5 1/2 in.

Gold, enamel and palisander wood trilobed dish. By Fabergé. St. Petersburg, ca. 1900. D: 2 5/8 in.62

Silver and jasper hand seal set with faceted garnets. By Fabergé, workmaster Michael Perchin. St. Petersburg, ca. 1910. H: 1 3/4 in.

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Miniature lapis hand seal setin gold with turquoise, andcarved amethyst seal. English, ca. 1840. H: 1 3/4 in.

64

Collection of eight English 18th century seals

• Sardonyx blackamoor fob with diamonds. Sardonyxseal of profile. L: 1 3/16 in.

• Sardonyx and diamond blackamoor fob with gold andblack enamel. Sardonyx seal of a man in profile.L: 1 3/8 in.

• Lapis and agate Nubian seal with diamond bow-tie. Seal of carving of man in profile. L: 1 5/16 in.

• Nubian bloodstone and gold seal. L: 1 7/16 in.

• Banded agate bust with gemstone collar set in gold.Carved agate night scene seal. L: 1 7/16 in.

• Banded agate and gold bust of a lady. L: 1 3/4 in.

• Agate bust of a man set in gold. L: 1 1/16 in.

• Gold mounted banded agate seal of the figure of awomen. L: 1 1/2 in.

65

Collection of three English mid 19th century seals

• Agate bear seal with carved honeybee. H: 1 1/4 in.

• Jasper dog mounted gold hand seal with diamond eyes andcollar with amethyst seal. H: 1 3/4 in.

• Carved agate dog seal set with an uncut lapis seal. H: 1 1/4 in.

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Banded agate and gold desk seal.English, ca. 1790.H: 2 1/16 in.

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Gold seal with four profiles againstblue mosaic ground and owl on top.Italian, nineteenth century.H: 1 3/4 in. with bail.

Two English seals, ca. 1800

• Quartz seal with vari-colored gold floralornamentation. Amethyst seal carving of eagleand serpent. H: 2 in.

• Blackamoor black hardstone sealwearing ruff and vari-coloredgold floral ornamentation. Brown agate seal carving of a lion. H: 2 1/4 in.

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Collection of three silver desk sealsBy S. Arndt. St. Petersburg, ca. 1860.

• Russian peasant. H: 2 1/2 in.

• Courting couple. H: 3 1/2 in.

• Triple seal of a man carryingpails of water, the base andbuckets set with seals.H: 5 in.

70

Two English late 18th century seals

• Gold mounted banded agate monkeyfob with an emerald and ruby necklaceand carved ruby hands. L: 2 in.

• Sardonyx and gold fob blackamoorfigure with turban and diamond collarand gem-set bail. L: 2 in.

71

Baroque pearl, gold, diamond,and enamel seal in the form ofa creature playing bagpipes.English, mid 18th century. L: 1 1/4 in.

72

Two boxes

• Carved nephrite and gold box. English, ca. 1850. H: 13/16 in., W: 7/8 in.

• Nephrite and bloodstone pendant box with “nul platsir sans vous” in enamel. English, ca. 1880. L: 1 3/4 in. incl. bail, W: 3/4 in.

Miniature gold match-case in theform of a suitcase. English, ca. 1870.W: 1 3/16 in., H: 3/4 in. incl. handles

Vinaigrette in the form of a turtle with gold andblue enamel shell, diamond legs, natural pearlhead and pink gemstone eyes. English, ca. 1870. L: 1 3/4 in. incl. bail, W: 7/8 in.

73

Round box with a reverse rock crystalbouquet with mother of pearl backing andamethyst thumbpiece. English, ca. 1890.H: 3/4 in., D: 1 in.

Miniature blue enamel and goldcarnet de bal. English, 18th century. L: 1 1/8 in., W: 11/16 in.

Gold octagonal vinaigrette.English, ca. 1870.L: 1 1/2 in. incl. bail, W: 1 in.

74

Tiny Empire gold and micro-mosaicvinaigrette with a spaniel micro-mosaicset in lapis. Paris, ca. 1810. L: 1 in.

Gold and turquoise vinaigrette. English, ca. 1880. L: 1 1/4 in., W: 1 in., D: 3/8 in.

75

Gold and blue enamel vinaigrettefeaturing a house and trees on the cover.Paris, ca. 1810.L: 1 3/16 in., W: 1 7/8 in., D: 7/16 in.

Gold vinaigrette with black enamelacanthus leaf design. By C. Petschler.Paris, ca. 1830.L: 15/16 in., W: 11/16 in., D: 1/4 in.

76

Circular Empire gold and purpurinemicro-mosaic box with red lacquer sides.Paris, ca. 1810. D: 1 2/3 in.

Lapis lazuli desk box with black marble interior,mounted in metal. Possibly English, ca. 1960-70.L: 5 7/8 in. x W: 4 in. x D: 1 3/8 in.

77

Oval Empire gold box with micro-mosaic offlowers mounted in purpurine and interior riminscribed, “A plus aimable et la plus aimée.”By C. Petschler. Paris, ca. 1810. L: 1 1/2 in.

Miniature red enamel and gold snuffbox. Continental, ca. 1890. L: 1 1/4 in., W: 7/8 in., H: 1/2 in.

Thimble case and étui. Paris, ca. 1755.(enamel loss)

78

Pair of gilded porcelain vases, the front and reverse finelypainted en grisaille with scenes of love featuring Cupid andPsyche, and Venus and Adonis, with Cupid, after Canova; withVenus’s swan-drawn chariot echoed in the dramatically archedswan and leaf-form handles.Batenin Porcelain Factory, St. Petersburg, ca. 1820. H: 14 1/4 in.In its short life, the Batenin Factory, founded in 1811 and activeuntil it burned down in 1838, was noted for its production ofopulently gilded and painted wares.

79

Brûle-parfum mounted in gildedbronze, the circular rhodonitetop and base joined by taperingrectangular nephrite legs. After adesign by I.I. Galberg (1779-1863), a Swedish architect anddesigner, architect from 1817 tothe Cabinet of His ImperialMajesty, provider of numerousdesigns for the Imperial LapidaryWorks, 1860-1880. Similar vesselsare in the collections of the Walters Art Museum and the State Hermitage Museum.H: 11 in.A malachite version was made for theHermitage in 1845, with sketch 1842.Known in China since the XII century,nephrite was first discovered in

Russia in 1853, and, first used bythe Imperial Lapidary Works,

and later by Fabergé.

80

Set of six large gilded and painted porcelain cups and saucers, from theService of Grand Duke Alexandrovich, the future Alexander III, andfeaturing his crowned monogram. By the Imperial Porcelain Factory. St. Petersburg, period of Tsars Alexander II and Alexander III.H: 3 1/2 in.

Pair of clear glass beakers withtransfer portraits of futureAlexander II (1855-1881) andhis wife, Maria Alexandrovna. By the Imperial Glass Factory. St. Petersburg, ca. 1846. H: 3 1/8 in.

81

Shell-form porcelain dishesornamented with the Imperial eagle.By the Imperial Porcelain Factory.St. Petersburg, period of Alexander III (1881-1894). L: 4 1/2 in.

FABERGÉArt Nouveau silver-gilt fishknife and fork set. Moscow, ca. 1900. In original case by Fabergé.Knives and forks: L: 7 3/8 in. Handle width: 9/16 in.

82

Russian silver-gilt, cloisonné enamel and agate coffee pot of balusterform, with tiers of lobed teardrop panels with vari-colored stylizedfoliage, crowned with an acorn finial. By Feodor Ruckert. Moscow, 1896-1908. H: 8 3/4 in.Exhibited: Virginia Museum of Fine Arts, 1999-2012.

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Silver-gilt shaded enamel kovsh. By Maria Semonova. Moscow, 1908-1917. L: 9 in.

Silver and silver-gilt Russian napkinring decorated with enameled wintertroika scene. St. Petersburg, ca. 1890.D: 1 1/2 in.

FABERGÉ silver and silver-gilt napkin ring with blue and white enamel decoration. Workmaster Anders Nevaleinen.St. Petersburg, ca. 1900. D: 1 1/2 in.

84

French porcelain vase with oxblood glazemanufactured by the NPV CeramicWorkshop. Silver mount by FABERGÉ,workmaster Julius Rappoport.Moscow, ca. 1900. H: 8 3/4 in.

85

Grand Duke Kirill Vladimirovich (1876-1938) By Constantin Yegorovich Makovsky (1839-1915). Oil on panel.

Canvas: W: 18 3/4 x H: 24 in., Frame: W: 27 x H: 31 1/2in. Signed upper left. Artist’s name and Palace inventory number is onthe reverse of the painting.Provenance: Vladimir Palace, St. PetersburgKirill Vladimirovich was a cousin of Czar Nicholas II. On 8 October1905, without permission from the Czar, he married his first cousin,Victoria Melitta of Edinburgh, the divorced wife of Ernst of Hesse-Darmstadt. As a result, he was stripped of his military rank andordered to leave Russia within 24 hours. In 1910, on being permittedto return, the Grand Duke was awarded the Order of Vladimir (wornin the portrait).

86

Portrait of a Brittany SpanielBy Nikolai Yegorovich Sverchkov (1817-1898)

Oil on canvas. Russian, ca. 1880.Canvas: 39 1/2 x 31 7/8 in., Oval: 31 3/8 x 25 in.

Frame: 48 1/8 x 40 in. Signed in Cyrillic lower right.

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Lapis bead necklace. L: 21 in.

Malachite and gilt bronze box. Russian, ca. 1840.W: 5 in., L: 7 in., D: 4 3/4 in.

Malachite bead necklace. L: 94 in.

Gold Georgian necklace. L: 19 in.

Angel-skin coral and aquamarine necklace. L: 16 in.

Turquoise, ruby and diamond necklace. L: 55 in.

White opal and rock crystal necklace. L: 23 in.

Gold opal bead necklace. L: 19 in.

Where the Unusual is Usual SM

Established 1851