Masterpiece of the Week: Bust of Tsar Alexander III, 1900

Bust of Tsar Alexander III
1900
Crown Copyright
The Royal Collection 
Image Courtesy of Her Majesty Queen Elizabeth II

Queen Alexandra, consort of King Edward VII (1844-1925), acquired this bust by Fabergé of Tsar Alexander III. The miniature bust, dating to 1900, is carved of smoky quartz and mounted on a column of nephrite applied with the imperial double-headed eagle. Obviously, the portrait was created after the Tsar’s death in 1894.

The piece was central to Queen Alexandra’s collection of Fabergé miniatures. Her Majesty was the Tsar’s sister-in-law. It’s possible that the bust was a gift to her from the Dowager Tsarina Maria Feodorovna.

Another bust of Alexander III, cast in gold, was included as the “surprise” inside Fabergé’s Alexander III Commemorative Egg, given to Maria Feodorovna at Easter 1909 by Tsar Nicholas II.

The Tsar and Tsarina frequently visited with their British royal relations, showing close dynastic ties, in England, Russia or Denmark. Queen Victoria recorded such a visit paid by Alexander III (then the Tsarevich) and Maria Feodorovna (Minny) in her Journal on July 1, 1873:

“The Csarevitch led me in [to dinner], as 36 years ago his Grandfather, the Emperor Nicholas had done. He is very goodnatured. I wore the Russian order, & sat between him & Minny.” 

Victoria is said to have mourned deeply when she received word from the new Tsar Nicholas II, that his father, Alexander II, had died. He wrote “dearest beloved father has been taken from us. He gently went to sleep.”

Gifts of Grandeur: The Jean-Pierre Ador Snuffbox, 1762-66

Enameled Gold Snuffbox
1762-1766
This and all related images from:
The Victoria & Albert Museum

The base of this handsome snuffbox bears the arms of Baron Nicolaus von Korff (1710-66) who was a distinguished soldier in the Russian army. The, made in St. Petersburg between 1762-66, is enameled with the five chivalric orders that the baron received: the Russian Orders of St Andrew (cover) and Alexander Nevsky (right side), Prussian Order of the Black Eagle (front), Polish Order of the White Eagle (back) and Order of St Anne of Holstein (left side).

Made by Jean-Pierre Ador, the box is part of the magnificent Gilbert Collection at the V&A. The original stamped leather box remains—still lined with silk. 

Gifts of Grandeur: The Fabergé Star Bangle, 1908-1913

Bangle of gold, a star sapphire and ruby
c. 1908
The Victoria & Albert Museum

In 1882, Fabergé showed archaeological-style jewelry at the Pan-Russian Industrial Exhibition in Moscow.   The display was a triumph and visitors to the Exhibition were vocal in their adoration of these pieces, which were based on the Greek jewelry in the Hermitage.

Among the most celebrated of the pieces on display was this bangle bracelet of gold which is set, at the terminals, with a large pale star sapphire and a vivid star ruby.  The stones, both natural, display a white star, due to refraction, when held up to the light.

Her Majesty, Queen Mary, consort of King George V, was a great fan of this style of bracelet and amassed many similar pieces in her monumental collection of jewels.  

Friday Fun: Mr. Punch’s Russian Cousin, Petrushka

An antique "Petrushka"
marionette

Mr. Punch has cousins all over the world who look and act quite a bit like him. His Russian counterpart is called “Petrushka” (meaning Parsley). Dressed in red with a jester’s painted face, Petrushka has a long nose like Mr. Punch and a very similar “swazzle”-created voice. 


Petrushka also relies on slapstick comedy, but the stories take a slightly different approach than the adventures of Mr. Punch. Petrushka stories focus on his military service, his medical treatment and his training of a horse.

Thanks to Chris van der Craats (Australia’s “Professor Whatsit”), we get this fascinating glimpse at this Russian puppet cousin to our Mr. Punch. 

Gifts of Grandeur: The St. Petersburg Turquoise Snuffbox, 1820

This and all related images from:
The Victoria & Albert Museum

Russian artisans have always excelled with the concept of the jewel-encrusted box. In the 1820s when the fashion for turquoise jewelry was at its apex in Europe, Russian jewelers adapted the look into a variety of small vessels such as this wee snuffbox from St. Petersburg.

This particular box was a new take on the trunk-shaped caskets which had been popular in Russia at the end of the Eighteenth Century. The shape has been elongated and studded with a beautiful coat of Persian turquoise. The box itself is constructed of gold while the stones are set in turquoise. A diamond-set thumbpiece completes the luxurious package.

This beauty is just one of the many treasures collected by Sir Arthur Gilbert and his wife Rosalinde who formed one of the world's great decorative art collections. Arthur Gilbert donated this extraordinary collection to Britain in 1996 and it has been housed at the V&A on public display for many years. 

Mastery of Design: The Basket of Flowers Egg, 1901

Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Click image to enlarge.

The Basket of Flowers Egg
Fabergé, 1901
Enamel, Silver, Gold, Diamonds
The Royal Collection

Queen Mary liked the work of Carl Fabergé. Well, actually, my favorite Royal magpie liked anything shiny. I’ll always have that in common with good ol’ Mary of Teck. Through a variety of means, Mary somehow managed to obtain a lot of the Fabergé which had been confiscated during the Russian Revolution. Among those items were several of the legendary Fabergé Eggs.

The eggs were made by Carl Fabergé each year in absolute secrecy. They were presented by Tsar Nicholas II for Tsarina Alexandra Feodorovna as Easter gifts. This—The Basket of Flowers Egg—was considered one of the most magnificent. An egg-shaped vase of silver, gold and enamel is adorened with a delicate pattern of diamonds. Diamonds also spell out the year—1901. The vase is filled with an assortment of enamel and diamond flowers.

When Queen Mary obtained the egg, it had been badly damaged in the Revolution. Queen Mary had the original oyster-colored enamel stand replaced with a bright blue enamel base. The pattern of diamonds was continued all the way to the bottom.

Say what you will about Mary of Teck, but she managed to rescue and repair thousands of gorgeous objects which would have otherwise been lost. 

Mastery of Design: Box with Miniature of Peter the Great's Monument, 1913

Box of Gold, Enamel, Diamonds and a MiniatureHenrik Wigström forFabergé, 1913
Purchased by Queen Mary for King George V
Crown Copyright
The Royal Collection 
Image Courtesy of:
Her Majesty Queen Elizabeth II

Made for Fabergé  by the celebrated Henrik Wigström (1862-1923), this box of gold, guilloché enamel, rose and brilliant diamonds,  and a miniature en grisaille (in a limited, mostly gray, color palette) depicts Peter the Great's Monument.  It was made in 1913 for Prince Vladimir Galitzine; from whom purchased by Queen Mary,  September 10, 1934.  Mary presented the box to King George V on Christmas Day of 1934.

The scene shows Etienne Falconet’s monument in St Petersburg which was completed in 1782, glorifying Peter the Great’s absolutism. The miniature is designed to look like a cameo.  The painting was the work of  Vassily Zuiev, a miniaturist employed by Fabergé, and is dated 1913, the year of the Romanov tercentenary.

Sculpture of the Day: Bust of Tsar Alexander III, 1900

Bust of Tsar Alexander III
1900
Crown Copyright
The Royal Collection 
Image Courtesy of Her Majesty Queen Elizabeth II

Queen Alexandra, consort of King Edward VII (1844-1925), acquired this bust by Fabergé of Tsar Alexander III. The miniature bust, dating to 1900, is carved of smoky quartz and mounted on a column of nephrite applied with the imperial double-headed eagle. Obviously, the portrait was created after the Tsar’s death in 1894.

The piece was central to Queen Alexandra’s collection of Fabergé miniatures. Her Majesty was the Tsar’s sister-in-law. It’s possible that the bust was a gift to her from the Dowager Tsarina Maria Feodorovna.

Another bust of Alexander III, cast in gold, was included as the “surprise” inside Fabergé’s Alexander III Commemorative Egg, given to Maria Feodorovna at Easter 1909 by Tsar Nicholas II.

The Tsar and Tsarina frequently visited with their British royal relations, showing close dynastic ties, in England, Russia or Denmark. Queen Victoria recorded such a visit paid by Alexander III (then the Tsarevich) and Maria Feodorovna (Minny) in her Journal on July 1, 1873:

“The Csarevitch led me in [to dinner], as 36 years ago his Grandfather, the Emperor Nicholas had done. He is very goodnatured. I wore the Russian order, & sat between him & Minny.” 

Victoria is said to have mourned deeply when she received word from the new Tsar Nicholas II, that his father, Alexander II, had died. He wrote “dearest beloved father has been taken from us. He gently went to sleep.”

Painting of the Day: Nicholas I, Emperor of Russia, in Repose, 1855

Nicholas I, Emperor of Russia
Miniature
Watercolor on Ivory, 1855
H.P. Heidemanns
The Royal Collection

Well, by “repose,” I suppose I mean, “dead.” This rather grim miniature was painted in watercolor on ivory in 1855, the year of Emperor Nicholas I’s death. The usually sturdy Russian leader caught a chill during the Crimean War and ignored it, continuing his strenuous work schedule. He developed pneumonia and died.


Queen Victoria purchased the miniature in 1879. Most likely her interest in the object stemmed from her ongoing feelings of guilt about the Crimean War. Despite its somber subject matter, it’s a lovely little painting from the hand of Henri Philippe Heidemanns.

Gifts of Grandeur: The Grand Duchess Olga Gold Casket, 1800-1850

Gilt Bronze and Micromosaic Jewel Casket
St. Petersburg, 1800-1850
This and all related images from:
The Victoria & Albert Collection

Tsar Paul I (reigned 1796-1801) built Gatchina Priory, south of St. Petersburg, commissioning the monumental structure in the Gothic style which he favored. This jewel casket exhibits a similar style. It’s believed that the casket (made either in Rome or St. Petersburg) was created for the Grand Duchess Olga (1822-92), the daughter of Tsar Nicholas I.

The casket is constructed of gilt bronze with relief friezes of intricate archways, each interrupted by a central oval. Many of the oval medallions have been inset with micromosaics of putti in the act of play. The jewel case’s top section is adorned with a relief of arcs, arches and fleurs-de-lis set against foliage. At the center of the lid, a rectangular mosaic has been set. This intricate scene depicts the Gatchina Priory nestled into a lush landscape.

Made between 1800 and 1850, the casket is thought to be the work of Georgi Ferdinand Wekler, considered one of the foremost mosaicists of his day. The box is now part of the Gilbert Collection at the V&A.

Mastery of Design: A Portrait Ring of Nicholas I, 1833

Portrait Ring of Nicholas I, Emperior of Russia
Ivan Winberg, 1833
Miniature of Watercolor on Ivory
Gold, Diamonds, Enamel
The Royal Collection

This magnificent ring dates to 1833 and is attributed to the painter Ivan Winberg. Here, we have a miniature portrait of Emperor Nicholas I of Russia set behind a flat-cut diamond. The watercolor on ivory miniature is set in a ring of enamel, diamonds, and gold. The portrait is surmounted by a diamond-set imperial crown. The shoulders of the ring are flanked with enameled, double-headed eagles of Russia.


I don’t suppose it will come as a shock to anyone at this point that this ring came into the Royal Collection via Queen Mary (of Teck). How she got it, I don’t know. But, she got it—as one does.

Crown Copyright
The Royal Collection
via The Royal Collection Trust
Image Courtesy of Her Majesty Queen Elizabeth II

Click image to enlarge.

Object of the Day, Museum Edition: The Hull-Grundy Hair Ornament

Hair Ornament
c. 1760
This and all relayed images from The British Musuem

Another jewel from The British Museum's Hull-Grundy Gift, this hair ornament is made in the form of a floral spray with leaves of chased silver and gold settings for the foiled rose-cut diamonds.  Four pear-shaped pendant drop diamonds and two baroque pearls join the four diamond drops.

The ornament was made in Russia, circa 1760 and shows the Eighteenth Century taste for asymmetrical aigrettes in the Rococo fashion.  The style was especially popular in Russia and Italy, adapted from a Spanish style which relied heavily on shimmering pendant drops.  

A brooch set with emeralds from the same time period and place of creation is frequently associated with this hair ornament.  

Precious Time: The Colonnade Egg by Fabergé, 1910

The Colonnade Egg
1910, Fabergé
Bowenite, Four-Color Gold,
Diamonds, Platinum, Silver,
Enamel
The Royal Collection

This remarkable work of art is one of four Imperial Fabergé eggs which incorporated a clock into the central design. Designed by Henrik Wigström for Fabergé in 1910, the egg was originally presented to Russian Tsar Nicholas II as the traditional Easter gift for his wife.

The centerpiece of the egg is a rotary clock by Henri Moser et Cie. The clock is supported by bejeweled and enameled columns and surmounted by the egg itself so that it takes on the look of a temple. It is meant to represent the “temple of love.” Two platinum doves symbolize the Tsar and Tsarina, with four cherubs representing their daughters and a fifth putti at the apex of the dome—a symbol of their long-awaited son. The entire piece is adorned with diamonds, enamel, four-color gold, platinum and silver.

When Nicholas II was overthrown and his family killed in 1917, most of the Russian treasures were confiscated by the provisional government. The Colonnade Egg was among those items which were seized. It was presumed lost. However, in 1931, it reappeared in the hands of Mary of Teck who presented it as a gift to her husband, King George V.

Crown Copyright
The Royal Collection
via The Royal Collection Trust
Image Courtesy of Her Majesty Queen Elizabeth II

Crown Copyright
The Royal Collection
via The Royal Collection Trust
Images Courtesy of Her Majesty Queen Elizabeth II

Object of the Day, Museum Edition: The Catherine the Great Pendant, 1790

Pendant
Russian, 1790
Made for Catherine, The Grest
The Victoria & Albert Museum

Made in 1790 by an unknown Russian jeweler this pendant of diamonds set in silver takes the form of an egg suspended from a Russian crown. The pendant is also mounted with vertical rows of gold beads. As a surprise, the egg unscrews at its widest point and reveals the monogram of Catherine the Great--set in diamonds on a blue glass ground.

This masterpiece is thought to have been presented by Catherine the Great, Empress of Russia from 1762-1796, to a member of her court, almost certainly at Easter. Ah, the Russians and their jeweled Easter eggs! Compared to others, this one is rather modest. But, I still wouldn’t return it if it was given to me. 

The Home Beautiful: The Dimsdale "Pink Diamond" Snuffbox, 1768

Click Image to Enlarge
Snuffbox
Presented to Nathaniel Dimsdale by Catherine II
Foil-backed diamonds and vari-colored gold
Russia or Germany, 1768
This and all related images from:
The Victoria & Albert Museum

Thomas Dimsdale (1712-1800) was an English doctor and staunch advocate of the practice of inoculation against smallpox. That seems reasonable. Dimsdale was summoned by the Russian ambassador to advise Catherine II during the Russian smallpox epidemic of 1768.

The Empress was so impressed by the success of the potentially dangerous treatment that she created Dimsdale a Baron of the Russian Empire, a councilor of state and personal physician to the Empress. Good gig. Furthermore, Dimsdale’s work garnered him the favor of the British Empire and he was awarded a princely sum of £10,000 plus an annuity and works of art.

Dimsdale’s entire family enjoyed the generosity of the Empress and the British Crown. The doctor’s son, Nathaniel, was presented by Catherine II with this magnificent diamond-encrusted, varicolored-gold snuffbox. The box is adorned with figures in neo-classical landscapes and was made in either St Petersburg or Berlin.

As was the practice when this box was made (1768), the diamonds are foil-backed to increase their luster. Many of them are backed in pink foil to give the impression of rare pink diamonds. At some point, the box became part of the collection of Sir Arthur and Rosalinde Gilbert who bequeathed their impressive lot of important “stuff” to the V&A. This box has long been accompanied by a miniature portrait of Thomas, 1st Baron Dimsdale, which was enameled by Henry Bone in 1800 in the final year of the famed doctor’s life.

Mastery of Design: A Gift to Queen Mary from the Royal Household, 1928

Crown Copyright
The Royal Collection
Via The Royal Collection Trust
Image Courtesy of Her Majesty Queen Elizabeth II

Click on Image to Enlage

Made by Ovchinnikov of St Petersburg this box of enamel, gold, topaz, sapphires, and was presented to  Queen Mary, consort of King George V, King of the United Kingdom (1867-1953), from the Royal Household on her May 26, 1928.

The square circular lilac guilloché enamel box's raised inset cover is mounted with a faceted blue topaz.  The neck of cream guilloché enamel, and shoulders are mounted in colored gold with chased floral swags. The illusion of pendants of enamels is heightened from raised set diamonds and surrounding cabochon sapphires.