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Click here to subscribeA modern Fabergé enamelled egg pendant, the egg with red guilloche enamel decoration and a gold fleur de lys style design, with a brilliant cut diamond accented suspensory loop, the egg signed ‘Fabergé’ and numbered ‘83/500’, the pendant length 2.3cm; together with an unassociated curb link chain stamped ‘375’
An early 20th Century Russian Fabergé two-colour gold and enamel gum pot, 56 zolotnik, the rose gold detachable brush with cabochon moonstone finial, the compressed spherical body enamelled in translucent strawberry red over flower swags and pendants on a waved guilloche sunray ground, the rose gold collar with yellow gold leaf band, workmaster`s `H.W.` mark of Henrik Wigström and `56 AP` mark of assay master Alexander Romanov to collar and brush fitting, height approx 4.5cm.
A silver gilt and enamel fan-shaped desk clock by Carl Fabergé, the circular white enamel dial with Arabic numerals and gilt hands, within a chased spiral twist bezel, the case with ivory guilloche enamel decoration, the struts chased with ears of wheat, the outer border with flowerheads and a similar motif to the bezel, hinged scroll easel stand, the double barrel Swiss jewelled lever movement numbered 67466 and signed ‘Hri Moser et Cie’, inside of back cover and side of inner case stamped 466, workmaster Michael Perchin, stamped to the underside and in three places, 88 zolotnik mark for St Petersburg 1898-1903 (assay master Yakov Lyapunov) in two places, scratch inventory mark 4688, height 8.5cm (3 3/8in.), width 16cm (6 1/4in). Provenance: purchased pre-1964; thereafter by family descent. NB. Those wishing to bid on this lot should please make arrangements with the auctioneers in advance.
A Fabergé 18ct yellow gold, diamond and enamel pendant necklace limited edition no. 99 of 1000, the pendant designed as six graduated guilloche enamelled discs in opaline and black, each centred by a single round brilliant cut diamond, signed `Fabergé 99/1000 750`, on an 18ct yellow gold double strand curb link chain with lobster clasp, also signed, in the original polished burr wood box and outer case, with signed certificate of authenticity. See Illustration.
*Porte menu en vermeil et émail vert translucide à décor appliqué de guirlandes de lauriers, couronnes tressées et cygne, pied chevalet ajouré au dos, Fabergé, référence 10944, Kokoshnik 88, 1899-1903, Saint-Pétersbourg, long. 9,5 cm A Russian silver-gilt and green enamel menu card holder, Faberge, St Petersburg, 1899-1903, applied with ribbon-tied laurel swags, wreaths and a swan, 88 standard, scratched number 10944, 9.5 cm Серебряная подставка для меню с изображением лавровых венков и лебедя, фирма Фаберже, позрлота, эмаль, Санкт-Петербург, 1899-1903 гг., 88 проба, выцарапан номер 10944, 9.5 см
Kovsh en argent russe, prise à l’aigle impérial bicéphale, réalisé pour le prix du marathon du 25 février 1901, poinçon de Karl Fabergé avec privilège impérial, Kokoshnik 84, 1896-1908, Moscou ou Saint-Pétersbourg, long. 27.5 cm, 541g Provenance: Comte Boutourline A Russian silver kovsh, Faberge, Moscow or St Petersburg, circa 1901, with Imperial Eagle handle, presentation inscription, marked K. Faberge and Imperial warrant Серебряный ковш,сделанный в качестве приза за участие в марафоне 25 ф?????? 1901 ?. ? ????????, ?????? ???????, ?????? ??? ?????-?????????евраля 1901 г. с надписью, клеймо Фаберже, Москва или Санкт-Петербург
*Centre de table en argent Fabergé en forme de vase urne à décor de médaillon, acanthes et laurier flanqué de chimères ailées sur une base à quatre pieds griffes ornée de guirlandes de fruits soutenant une coupe de cristal polylobée et taillée en étoile, poinçons d’orfèvre de J.A.Rappoport, Kokoshnik 88, 1899-1903, h. 29 cm A Faberge silver and cut glass centrepiece, St. Petersburg, 1899-1903, workmaster J.A.Rappoport, 84 standard, 28.5 cm Серебряная часть стола в виде вазы с медальоном с декором из лавровых венков на 4 ножках, именник мастера J.A.Rappoport, серебро, стекло, фабрика Фаберже, 88 проба, 1899-1903 гг, 29 см
A modern Victor Mayer `Fabergé` limited edition gold, diamond set and enamelled egg shaped pendant, the front with black lattice decoration against a translucent yellow ground, mounted with four small circular cut diamonds at intervals, hinged to reveal a chain terminating with a red enamelled heart shaped pendant drop, detailed `Fabergé 261/500`, with certificate of authenticity, case and box.
A Russian silver child’s mug, by Fabergé, Moscow 1891/96, the cylindrical body decorated with scrolling foliate frieze surrounding an escutcheon shaped cartouche, monogrammed, with naturalistic leaf capped scroll handle, marked K Fabergé in full below the Imperial Warrant, 84 standard, scratched number ‘9445’ to base, 6.25cm high to top of handle, 3.25oz
A Russian gold mounted and rose pink enamel parasol handle by Fabergé, unmarked, inventory no. 13557, St. Petersburg, circa 1890, circular and tapered, engine turned under translucent guilloché pink enamel, the top applied with a flower head, a chased foliate band and a beaded lower rim, 4.5cm (1 1/2in) long, in a fitted Fabergé hollywood box
"AN IMPORTANT IMPERIAL RUSSIAN ICON TRIPTYCH, FABERGÉ & SIGNED N. EMELIANOV, CIRCA 1912 The central reserve displaying a finely painted image of The Serafimo-Ponetaevskaya Sign Mother of God, characteristically painted with a gem and pearl encrusted veil. The Christ Child as well as the head of the Virgin, encircled with ornate silver repousse haloes, the Virgin’s halo embellished with cabochons. Both hallmarked St. Petersburg, and with Cyrillic maker`s mark FABERGÉ beneath the Imperial Warrant and workmaster`s initials TR for Phillip Theodor Ringe. Below the Virgin are inscribed the standard troparion (left) and kontakion (right) celebrating icons of the “Sign”. And further still lower right the icon is signed in Cyrillic “Painted by N. Emelianov”. Above the Virgin on either side are painted two full length images identified by inscriptions as Angels of the Lord. To the Virgin’s right (viewers left) a vertical panel divided into six sections each depicting a church feast day or other related event. From top to bottom they are; The Birth of the Mother of God, The Entrance of the Mother of God Into the Temple, The Translation of the Relics of Saint Alexander Nevsky from Vladimir to St. Petersburg, Saints Peter and Paul, The Appearance of the Wonderworking Icon of Kazan, and The Translation of the Relics of Saint Theodore Stratelates. To the Virgin’s left (viewers right) a similar vertical panel divided into five sections depicting the following iconographical subjects; The Resurrection, The Transfiguration, The Apostle and Evangelist Saint Matthew, The Dormition, and The Assembly of the Archangel Michael. Further out, the left wing depicts a finely painted full length image of Saint Nicholas whose head is encircled by a silver repousse halo stamped with the workmasters initials TR and who stands beneath an image identified by the Slavonic inscription as the Not-By-Hand-Made Image of Our Lord. Below Saint Nicholas is a reserve divided into four sections depicting various subjects. Clockwise from upper left they are; The Transferring of the Vladimir Mother of God Icon, Saint George, Saints Konstantin and Helen, and the Translation of the Relics of Saint Nicholas. The right wing depicts a finely painted full length image of Saint Seraphim of Sarov whose head is also encircled by a silver repousse halo stamped with the workmaster initials TR and who stands beneath an image of The Old Testament Trinity. Below Saint Seraphim a reserve divided into two sections depicts the following subjects; The Discovery of the True and Life-Giving Cross and an image of The Kazan Mother of God. Each shaped panel separately painted and set into the ornately carved one piece frame displaying an eight-sided cross finial atop the left and right wings and the central section surmounted by a similar cross flanked by a pair of six-winged Seraphim. The wide lower margin with two medallions carved in high relief and depicting Saint George (left) and The Archangel Michael (right). The verso of carved frame lined with brass edging around the border and the entire back covered in kid leather and stamped in Cyrillic ?.??????? beneath the Imperial Warrant and with St. Petersburg address. Height 23.3 inches (59.4cm).Width 16.4 inches (41.5cm).Provenance:Colonel Dmitrii Nikolaivich Loman, circa 1912, presumably a gift from Empress Alexandra Feodorovna. With Bowater Gallery, London, where acquired by Mrs. Harold Leather of Hamilton, Ontario, Canada, accompanied by original receipt of purchase dated August 10, 1970. Thence by descent to her son, Sir Edwin Leather (1919-2005) former Governor of Bermuda, and acquired by the present owner from the estate of Sir Edwin Leather.The Mother of God of the Sign icon known as the Serafimo-Ponetaevskaya was imbued with particular significance for Tsar Nicholas II and his wife Alexandra Feodorovna. As the last icon of this iconographic type to be declared miracle-working in Russia (1885), it became for the Imperial couple a symbol of Holy Rus reborn and triumphant in the modern age, and a direct link to the miraculous powers and protection of Saint Serafim of Sarov, to whom the Empress Alexandra was especially drawn. When the couple attended the celebrations marking the canonization of the Nizhnii Novgorod saint in 1903, the Ponetaevskaya icon was one of three venerated for their connection to Serafim’s life and work. The Empress was given a copy to mark the occasion and this icon accompanied her until her final days and death in Ekaterinburg in 1918. The Ponetaevskaya icon was particularly associated with Tsarskoe Selo, which in 1901 became the official Imperial residence and from 1909 was the site of the Fedorovsky Gorodok, an elaborate complex intended to recreate the spirit and culture of an idealized Russian past in a modernized idiom. It is with Colonel Dmitrii Loman, the driving force behind the construction and conception of the Fedorovsky Gorodok and a trusted member of the Imperial family’s inner circle, that the offered lot is associated.The icon’s name derives from the Serafimo-Ponetaevskaya convent, established in 1864 in memory of Saint Serafim (1754/9 - 1833), whose hermitage was located at nearby Sarov. The convent was famous for its icon painting workshops, and in 1879, a novice named Klavdia Voiloshnikovna made a copy of an icon of the Sign that had been acquired from the artist Pavel Sorokin who oversaw the painting studio. In addition to the canonical features of Sign icons - the half-length figure of the Mother of God with her hands raised in prayer and the Christ Child encircled by a nimbus within Her womb - the icon that Voiloshnikovna copied had several distinctive features. The Mother of God’s eyes are lifted to heaven and a pearl and gem encrusted veil sheathes her head and shoulders, imparting to her face a teardrop-shaped contour. The faces are rendered in the painterly style popular in the nineteenth century and have a certain sentimental sweetness. On May 14, 1885 the icon performed the first of many miracles and by the end of the year was officially proclaimed miracle-working by the Holy Synod.In 1909 an exact copy of the icon arrived at Tsarskoe Selo as a gift from the Abbess of the Ponetaevskaya convent. That same year, Tsar Nicholas II approved construction of a temporary church to serve the devotional needs of His Majesty’s Own Regiment, who were permanently stationed there. Dedicated to Saint Serafim of Sarov, the church was an experiment in resurrecting an idealized Russian past. It was appointed with an iconostasis designed by Prince Mikhail Putyatin (see fig. #3 & #4) and filled with icons painted by noted iconographer Nikolai Emelianov executed in the 17th century style. The Ponetaevskaya icon occupied a place of honor in the church, along with relics associated with Saint Serafim.At the same time Nicholas and Alexander gave permission and funds to build a permanent cathedral on the grounds of the Alexander Palace at Tsarkoe Selo, where their family might worship surrounded by their most devoted troops as well as their favorite sacred images. Consecrated in 1912, the cathedral contained two churches. In the upper church dedicated to the Feodorovskaya Mother of God icon, a five-tiered iconostasis was installed, filled with new icons painted by Emelianov in the same 17th century style and lavishly adorned with silver basma. On the lower level, space was carved out for a crypt church and it was here that the temporary church’s altar, icons, relics and fixtures were transferred. To the Ponetaevskaya icon was added a copy of the Umilenie Mother of God that had been Saint Serafim’s personal icon, together with an icon of the saint himself. A second Ponetaevskaya icon hung nearby in the empress’s own private chapel, donated by the empress’s sister, Grand Duchess Elizaveta Feodorovna in 1912 and adorned with a sumptuous silver oklad and costly embroidered veil (Fig.1).The offered triptych of the Ponetaevskaya Mother of God with Saints Nicholas and Serafim can be securely traced to Dmitrii Loman (1868-1918), a Colonel in His Majesty’s Own Regiment, whose energy and organizational talents made him an indispensable and sympathetic aide to the Imperial couple and was by all accounts very close to the Empress, who was the Godmother of Loman’s son, Yuri. A contemporary photograph dated to 1914 shows the icon hanging in the upper corner of Loman’s office located in the refectory at Tsarskoe Selo (Fig.2). Colonel Loman served in countless capacities that reflected the Emperor and Empress’ trust. In addition to being churchwarden of the cathedral, during WWI he served as the Empress’ representative on the Tsarskoe Selo Military Hospital Train No. 143 and similar trains under the protection of the grand duchesses. He was also on friendly terms with Grigorii Rasputin (Fig.3) who was a frequent visitor and was one of the few people actually present at his burial. Loman’s great passion was the preservation of early Russian art, music, and popular culture, and his collections of liturgical and folk art were intended to serve as inspiration for the revival of a single national style in all facets of contemporary life. In 1915, he was instrumental in creating the Society for the Renaissance of Artistic Rus, a group that included the leading artists and architects working in a neo-Russian style. The society’s goals included the study and preservation of Russian antiquities, the revival of pre-Petrine aesthetic traditions adapted to contemporary conditions, publishing textbooks on Russian art for schools, and restoring the purity of the Russian language. The complex of buildings that grew up around the Feodorovsky Cathedral, the Feodorovsky Gorodok, was to be a prototype for the realization of these goals on a national scale.In every sense the offered triptych is a microcosm and memento of the Feodorovsky Cathedral whose construction and decoration Loman oversaw. The painting is the work of the Palekh- trained Moscow-based court iconographer and restorer Nikolai Sergeevich Emelianov. Having proved his ability to interpret the spirit of 17th century icons in a modern idiom with the iconostasis for the temporary church, Emelianov was among a select group of iconographers (including Mikhail Dikarev) commissioned to provide icons for the cathedral’s upper church (Fig.4). Emelianov also prepared the drawings for the mosaic icons that marked the multiple entrances to the cathedral. In addition to the iconostasis, in 1910-11 Emelianov painted 102 icons for the cathedral itself, including “an icon of the Mother of God of the Sign with attendant angels,” of which the present icon may have been the model for the Loman triptych. Icons by Emelianov from the Feodorovsky Cathedral and other late Imperial churches are preserved in the State Museum of the History of Religion and, like the present icon, are generally signed in the lower right corner. So pleased were the royal family with his work, that Emelianov was awarded a silver medal on a Vladimir ribbon for his icons in the Feodorovsky Cathedral together with the Emperor’s “personal thanks.”The elegantly elongated figures of the two attendant saints - the tsar’s name saint Nicholas and Saint Serafim himself - and the miniature painting of the marginal scenes of festivals and saints are subtly adapted to the distinctly modern features of the Ponetaevskaya Mother of God. An exceptionally rich visual rhythm is created by the variations in scale and size of the scenes that flank that central image and create a continuous horizontal band along the lower edge. The three panels are set within a carved wooden framework that echoes the elongated gables of the iconostasis designed by Vladimir Pokrovsky for the upper church (Fig 5.). The carved relief roundels on the lower margin reference the mosaic icons of Saint George and Saint Michael that Emelianov designed to mark the north and south entrances into the cathedral (St. George appropriately designated the officers’ entrance). Reflected in the cabochon-studded haloes is the rich intricacy of 17th century devotional icons that established the aesthetic ideal espoused by enthusiasts like Prince Shirinsky-Shikhmatov and Loman himself. The fact that they were made in the workshops of the Imperial silversmith Fabergé reflect the status and importance of the person who commissioned the offered triptych. The carving borrows some of the stylized folk motifs from the furnishings designed for the cathedral by Nikolai Bartram and executed in the workshops of the Moscow Zemstvo at Sergiev Posad. Here too a balance is sought between the lushly ornamented upper half in the neo-Russian style and the neoclassical simplicity of the lower section, so typical of Fabergé’s work in burl and Karelian birch.Clearly, the triptych is a testament to Loman’s deeply held conviction - one he shared with the Imperial couple - that a renaissance of Old Russian values in contemporary life was a goal within reach. In the absence of a presentation plaque or other documentation we can only speculate as to its origins. It would certainly have been a fitting gift of appreciation and remembrance from the Empress for whom Loman had proved so indispensable. It is displayed in Loman’s office near an assortment of personal photographs depicting Tsar Nicholas II and the Empress of the type known to have been given by the royal couple to those whom they held in high esteem. However, perhaps the best clue as to who might have commissioned this icon rests in the fact that it was decorated by the firm of Fabergé. For it is well known that when the Tsar and Tsarina wanted to favor someone special with an extraordinary gift they would call upon the workshop of Fabergé to fulfill such requests. When all known facts are taken into consideration, Imperial silversmith Fabergé, court iconographer Emelianov, and the triptych being situated in the office of dutiful royal confidant and administrator Dmitrii Loman, it is fair to presume that the offered lot was indeed a gift from Nicholas and Alexandra to Loman most likely upon the completion of the cathedral in the fall of 1913 which Loman oversaw, including the task of primary fundraiser. After decades of decay and destruction, in 2009 a concerted restoration of the Feodorovsky Cathedral at Tsarskoe Selo was undertaken and the iconostasis reconstructed on the basis of several surviving icons by Emelianov. Loman’s son Yuri (1906-1988) survived the times or terror, successfully adjusted to communist rule and towards the end of his life penned a biography, “Memories of the Empress’ Godson”. The Society for the Renaissance of Artistic Rus of which Loman was instrumental, ceased its activities in October 1917. Loman perished (was shot) during the terror of 1918 and by 1928 the old icons from the Feodorovsky Cathedral had been dispersed, some made their way to the Russian Museum, while others, including some painted by Emelianov went to the State Museum of the History of Religion. Others, like the offered lot, thankfully found safe haven elsewhere and after decades of silently preaching in places far removed from the splendor of Tsarskoe Selo, are now being enjoyed by a new generation of enthusiasts who have come to appreciate the true geniuses of those artisans who created a unique Russian style that has now risen from the ash heap of history to reign again in splendor."
A FABERGÉ SILVER TROPHY CUP, MOSCOW, CIRCA 1890. Of traditional form with two handles, the side repoussed with rocaille cartouche engraved with a coat of arms and Latin motto "ADVERSA VIRTUTE REPELLO." Hallmarked Moscow circa 1890, "K.Fabergé" beneath the Imperial Warrant, 88 silver standard and engraved inventory number "235694." Height 8.75 inches (22.3 cm).
A FABERGÉ SILVER MOUNTED CUT GLASS BOWL, MOSCOW, 1908-1917. The side of bowl cut with swags and alternating fan forms, the base cut with large hobstar. The silver mounted rim with overhanging lip and beaded border. Hallmark Moscow 1908-1917, K.Fabergé beneath the Imperial Warrant, 84 silver standard. Height 3.25 inches (8 cm).
A FABERGÉ SILVER AND GUILLOCHE ENAMELED FRAME, ANDRE GORIANOV, ST. PETERSBURG, 1899-1908. Circular form and translucent oyster enamel over moiré engine-turning, set with floral swags, beaded border and ribbon tied finial. Wood back with silver scroll strut. Hallmarked St. Petersburg 1899-1908, Cyrillic workmaster initials "AG" and 84 silver standard. Height 3.1 inches (7.8 cm).
A RUSSIAN SILVER FABERGÉ CIGARETTE CASE, MOSCOW, 1899-1907. Of rectangular form with rounded sides and ribbed overall, the interior brightly gilded. Hallmarked Moscow 1899-1907, Cyrillic makers mark "KFabergé" beneath the Imperial Warrant, 84 silver standard, and scratched inventory number "22630." Length 3.75 inches (9.5 cm).
A RUSSIAN SILVER FABERGÉ CHARKA, ST. PETERSBURG, 1908-1917. The bowl with rolled rim above a band of laurels and with silver ruble handle dated 1764 displaying a bust portrait of Katherine the Great. Interior brightly gilded, hallmarked St. Petersburg 1908-1917, workmasters initials "S.W" Stephan Wakeva, and 84 silver standard. Length 4.6 inches (11.7 cm).
FABERGE Montre de dame en or jaune, la lunette ovale bordée de petites boules d`or, le cadran à décor repoussé d`un aigle bicéphale et d`une frise ponctuée de diamants, mouvement quartz. Bracelet en cuir rouge. Signée Fabergé au revers. On y joint un bracelet en cuir noir. Poids brut : 20,4 g Long. : 19,5 cm environ A diamond and gold wristwatch by Fabergé.
A RUSSIAN SILVER GILT AND SHADED CLOISONNÉ ENAMEL BELL PUSH ATTRIBUTED TO FEDOR RÜCKERTof domed circular form and in the `Old Russian` style, pink stone button, on mahogany base, 8.5cm diameter apparently no workmaster`s mark, Moscow 1908-17Provenance: Bought at Christie`s Geneva, (as by Ruckert) 14 May 1986, lot 140 (CHF 2,600) thence by descent to the present vendor.++The screws securing the cover to the mahogany base in poor condition (one missing); the enamel in good condition with one or two light surface grazes just visible with a loupe, no restoration and entirely original, .88 standard mark. In contemporary silk lined Fabergé box which is in poor condition. Not offered for sale since 1986.
* A FABERGÉ SILVER FLATWARE SERVICE MARKS OF KARL FABERGÉ IN CYRILLIC, MOSCOW, 84 STANDARD, 1899-1908 Length of a table knife 27 cm, of the fish slice 32 cm, wooden box 50 by 60.5 cm. Related literature: For the Devyatnins family arms, see Obschiy Gerbovnik Dvoryanskih Rodov Vserossiyskoy Imperii (Complete Armorial of the Noble Families of the Russian Empire), started in 1797, part 6, no. 88.Comprising 134 pieces: twelve table knives, twelve fish knives, twelve knives, twelve dessert knives; twelve table spoons, twelve dessert spoons, twelve tea spoons, twelve coffee spoons; twelve table forks, twelve fish forks, twelve dessert forks; one fish slice, one cheese knife; the handles cast and chased with a monogram inside laurel wreath and arms of the Devyatnins noble family on the reverse, in a large new wooden case with two drawers, made upon the model of the original case.
A late 19th Century Russian Silver and Nephrite Spill Vase, by Karl Fabergé, Workmaster Michael Perchin, the polished and tapering conical body with a plain collar (probably originally with an insert), and contained within a classical styled frame with guilloche borders and set with three rams head masks on spreading supports, with scrolling bases united by platform base with central rosette and raised on three button feet (with traces of original matt gilt finish), and marked with the Workmaster’s Punch, Russian assay mark with female mask 88 and thirdly the mark for Fabergé (incomplete), height 3”, width 2”
A set of twelve Russian 84 Zolotnick standard silver vodka tots, with gilt washed interiors with a broad band of niello and foliate scroll decoration centred by a shaped cartouche bearing a unicorn head crest (Assayer Viktor Sowinsky, by A Vassiliev, Moscow 1864), 4.3 cm high, contained within a black leather fitted case with velvet lined interior, bearing Fabergé retail mark to inner cover (ILLUSTRATED)
A FABERGE DIAMOND AND MECCA STONE BROOCH the moonstone with diamond surround and surmounted by a diamond bow, marked on bezel and pin with Fabergé`s initials in Cyrillic characters and St Petersburg Okoshnik mark, 1899-1908, scratched inventory number 28430 ++In fine condition with a few light scratches consistent with infrequent wear, marked on the pin and brooch
An Arts and Crafts gold, enamel and seed pearl brooch by William Soper, of heart shape with two confronting lions rampant holding plant forms set with a child‘s milk teeth, below is a back to back ‘RR’ monogram, tassel drop beneath, 8cm long, with the original case. William Soper taught Princess Marie Louise, grand daughter of Queen Victoria, enameling techniques, she became quite proficient and produced copies of Fabergé’s jewellery at a time when enameling was an exceedingly popular aristocratic pursuit.
A pair of Russian gold and enamel cufflinks in the Fabergé style indistinctly marked with a cyrillic symbol and inventory number, the circular head with chased edge, inner red guilloche enamel border with a central mine cut diamond, chain links to the cylindrical bar with sloping terminals 14mm diameter
A late 20th Century House of Igor Carl Fabergé blue enamelled and silver gilt mounted firebird musical egg, marked .925 sterling, the two section egg applied with apple blossom set with rubies, opening to reveal the firebird to interior, on a reeded dome base and scroll feet, fitted with a Reuge of Switzerland musical movement, height approx 16cm, boxed (faults).
A 9 carat gold curb link bracelet with fourteen Russian miniature Easter eggs, circa 1900, each link stamped ‘9’ and ‘375’ to a dog clip clasp, the eggs comprising from left to right: a polished egg, inset with 1899 and V in rose cut diamonds, unmarked, 14mm long; an openwork egg, formed of graduated spaced discs set with an oval cabochon ruby, unmarked, 14mm; a polished egg with a flower bud collet set with a pendeloque cut ruby and a trefoil of round cut sapphires beneath, stamped with 56 zolotnik mark, unknown maker’s mark Latin ‘HS’ (in Latin) , St Petersburg 1898-1908, 15mm long; an egg with planished effect overall, rub over set with a single ruby cabochon, unmarked, 15mm; an egg with planished effect overall, the rub over setting with a stone missing, indistinct mark, possibly a star or an X, 14mm; an openwork egg composed of foliate scrolls, the link with an indistinct mark, 13mm; an egg in the form of a bud, the calyx suspended with hoop drops alternatively set with rose cut diamonds, 56 zolotnik mark, unknown assay master’s mark and indistinct work master’s mark, 14mm; an openwork egg, in the form of a resting butterfly, its body at the belly of the egg, the wings collet set with eight rose cut diamonds (two missing), unmarked, 14mm; a polished egg rub over set with a cabochon ruby, indistinct mark, 15mm; a red enamel egg, in bud form, the calyx with a rose cut diamond at the centre, stamped with workmaster’s mark, ‘K?’, 15mm; an egg with planished effect overall, rub over set with a single cabochon ruby, 56 zolotnik mark, 15mm; a polished egg, randomly inset with three old brilliant cut diamonds (one a replaced white zircon), two sapphires, and four rubies, the colours of Mother Russia, the stones interlinked with engraved lines, 56 zolotnik mark, indistinct assay master’s mark and the work master’s mark of Gabriel Nykänen,15mm; a polished egg, inset with a diagonal band of calibré cut rubies, no mark; an egg with hammered effect overall, rub over set with an oval cabochon sapphire, unmarked, 13mm, 52g gross. Gabriel Nykanen (Russian transliteration, Niukkanen), was a Finnish workmaster who ran his own workshop on Kazanskaya Street in St Petersburg in the 1870s. He became a workmaster for Fabergé in 1885. He is recognised for his work on cigarette boxes and small objets in gold and silver, of which this egg is an example. See Tillander-Godenhielm, ‘Fabergé ja hanen suomalaiset mestarinsa’ (Fabergé and His Finnish Workmasters), 2008, p. 404-405
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