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 Henry Wilson Belt Clasp, 1905

Hopefully, this week, I'll get back on the usual schedule with everything, including "A Recipe for Punch."  For now, let's look at this...

Click on image to enlarge.
Belt Clasp
Henry Wilson, 1905
The Victoria & Albert Museum

I have a special fondness for the work of the jeweler Henry Wilson (1864-1934). Wilson’s jewelry is exceptional both for its form as well as the quality of the enameling and gem selection. He tended toward interesting color combinations and chose stones with only the richest colors. Wilson, a former architect (like many jewelers of his time) designed pieces which resonated with sculptural and architectural qualities, achieving a three-dimensionality which was unknown until that point. 

This is one of the most unusual pieces of Wilson’s that I’ve seen. This silver belt clasp was made in three parts. It is set with amethysts, garnets, williamsite (a green mineral), moonstones, agate, chalcedony and cat's-eye quartz. The central piece is adorned with sprays. Dating to 1905, this clasp was made to be worn on a variety of belts. 

Gifts of Grandeur: A Fabergé Duckling, c, 1908

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

Throughout the years here, we've looked at many animals by Fabergé which had been collected by Queens Alexandra, Mary and Elizabeth II.  Among the lot are four models of ducks, two of which we've seen.  However, this one which has recently been added to the Royal archive is my favorite.

The work of Henrik Emanuel Wigström (1862-1923), c. 1908, this expressive duck is modeled in aventurine quartz with eyes of rose diamonds, gold.  He was commissioned by King Edward VII as part of the famed "Sandringham Commission."  The legs of the duckling are crafted of chased red gold.

Crown Copyright
Image Courtesy of Her Majesty Queen Elizabeth II

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.”

Gifts of Grandeur: Queen Mary's Fabergé Bleeding Heart, 1900

Bleeding Heart
circa 1900
Acquired by Queen Mary in 1934
Crown Copyright
The Royal Collection 
Image Courtesy of Her Majesty Queen Elizabeth II

Another of Queen Mary’s important collection of works by the House of Fabergé, this little sculpture of rock crystal, gold, nephrite, rhodonite, and quartzite was made around 1900 and is considered one of the finest of the Fabergé treasures in The Royal Collection. 

Queen Mary acquired this study of “bleeding hearts” (a flowering plant which produces elegant arching sprays of heart-shaped red and/or white blooms) in 1934. The sculpture shows a double spray of the flowers, carved in rhodonite and quartzite. Three sets of delicately-carved nephrite leaves spring from green quartzite stalks. A vase of rock crystal serves as the base. To emulate the true nature of the flowers, the blooms are suspended on gold stems, articulated en tremblant so that they can move when the piece is touched, as if they were blown by the wind.

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

Mastery of Design: A Scent Flacon by Fabergé, 1900

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

Before Queen Mary, Consort of King George V, filled the Royal residences with Fabergé creations, her mother-in-law, Queen Alexandra, consort of King Edward VII, had already amassed a tremendous collection of her own--from her Fabergé farm in miniature which we've examined in great detail to the much-ballyhooed eggs to bell-pushes, desk-sets, clocks, picture frames and even little curiosities such as this scent flacon made by Carl Fabergé himself circa 1900.

The pieces is carved from a piece a aventurine quartz and is adorned with rose-cut diamonds and a cabochon ruby set in gold.  It's one of several scent flacons which Fabergé made in this form during a time when he was playing with the idea of imitating earlier Chinese carvings.

Her Majesty Queen Alexandra most likely acquired this flacon in 1904.  The records of The Royal Collection indicate that Her Majesty purchased a Fabergé scent flacon in jade at Lady Paget’s charity bazaar in 1904.

It could be that the records were referring to this piece.  However, I'd like to note that this piece is aventurine quartz which is not jade, which is a silicate mineral.  Still, the keeper of the records in 1904 might not have known the difference upon sight as the two minerals do look similar.  

Gifts of Grandeur: The Fabergé Pelican, 1915

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

Click image for larger size.

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

Among the menagerie of miniature Fabergé animals in Queen Mary’s collection, this pelican stands out. The pelican – a symbol of self sacrifice and maternal love – was a favored emblem of the Tsarina Maria Feodorovna.


Fabergé used the pelican as the theme for the Imperial Easter Egg which he made for the Tsarina in 1898. Of course, Carl Fabergé, is known to have had a keen interest in ornithology which led him to create detailed carvings of a tremendous variety of birds.

This fine pink quartz sculpture is set with ruby eyes and gold feet and was purchased for £20 by Grand Duke Michael from Fabergé’s London branch in November 1915 as a Christmas present for King George V and/or Queen Mary. 

Mastery of Design: The Blue-Eyed Fabergé Guinea Pig, c. 1900

Guinea Pig
Carl Fabergé
Crown Copyright
The Royal Collection
Image Via The Royal Collection Trust and
Courtesy of Her Majesty Queen Elizabeth II

Of the dozens upon dozens of miniature precious Fabergé animals in The Royal Collection, there are two Guinea Pigs.  One has ruby eyes, and one has sapphire eyes.  This is the latter.  

Made of quartzite, aventurine quartz, obsidian, and cabochon sapphires, this adorable and valuable rodent was made around 1900 for Queen Alexandra who started the whole "miniature menagerie" madness.  

His body of white translucent quartzite is inlaid with pale patches of tawny aventurine-quartz.  Wee ears in obsidian rise above and especially bright eyes of cabochon sapphires, making him far cuter than his younger brother.

Gifts of Grandeur: The Henry Wilson Belt Clasp, 1905

Click on image to enlarge.
Belt Clasp
Henry Wilson, 1905
The Victoria & Albert Museum

I have a special fondness for the work of the jeweler Henry Wilson (1864-1934). Wilson’s jewelry is exceptional both for its form as well as the quality of the enameling and gem selection. He tended toward interesting color combinations and chose stones with only the richest colors. Wilson, a former architect (like many jewelers of his time) designed pieces which resonated with sculptural and architectural qualities, achieving a three-dimensionality which was unknown until that point. 

This is one of the most unusual pieces of Wilson’s that I’ve seen. This silver belt clasp was made in three parts. It is set with amethysts, garnets, williamsite (a green mineral), moonstones, agate, chalcedony and cat's-eye quartz. The central piece is adorned with sprays. Dating to 1905, this clasp was made to be worn on a variety of belts. 

Gifts of Grandeur: A Fabergé Duckling, c, 1908

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

Throughout the years here, we've looked at many animals by Fabergé which had been collected by Queens Alexandra, Mary and Elizabeth II.  Among the lot are four models of ducks, two of which we've seen.  However, this one which has recently been added to the Royal archive is my favorite.

The work of Henrik Emanuel Wigström (1862-1923), c. 1908, this expressive duck is modeled in aventurine quartz with eyes of rose diamonds, gold.  He was commissioned by King Edward VII as part of the famed "Sandringham Commission."  The legs of the duckling are crafted of chased red gold.

Crown Copyright
Image Courtesy of Her Majesty Queen Elizabeth II

Unusual Artifacts: The Townshend Cryptocrystalline Quartz, 1825

Golden Chalcedony Ring
The Townshend Collection at
The Victoria & Albert Museum

This nifty gem is cryptocrystalline quartz. This natural phenomenon occurs when quartz forms as a mass of microscopically small crystals. It’s also known as “microcrystalline quartz,” but I like cryptocrystalline better since it sounds spoooooooooooky.

This family of quartz includes many different gemstones such as chalcedony, agate, carnelian, jasper and sard. The colors of the stones vary slightly depending on the occurrence of different impurities such as iron, manganese and chrome.

This ring is one of the 154 gems bequeathed to the V&A by the Reverend Chauncey Hare Townshend. Like the others in the collection it was mounted in a gold setting for display purposes only. The Gothic-style gold setting dates to about 1825. So, what exactly is this stone? Well, guess what. It’s a rare example of chalcedony that isn’t the typical blue-gray color that we think of. Oddly enough, just the other day, I was having a conversation with my father about chalcedony and if it was possible for it to be any other color. I declared that I didn’t think it possible. But, I wasn’t sure, so I went digging for answers and this is the result. If, during formation, iron manganese or chrome in peculiar amounts is introduced to a cryptocrystalline gem, the color can be altered. This is a very, very rare event. But, it can happen. The result, in this case, from an introduction of iron is a chalcedony with a golden hue.

Gifts of Grandeur: Queen Mary's Fabergé Bleeding Heart, 1900

Bleeding Heart
circa 1900
Acquired by Queen Mary in 1934
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Another of Queen Mary’s important collection of works by the House of Fabergé, this little sculpture of rock crystal, gold, nephrite, rhodonite, and quartzite was made around 1900 and is considered one of the finest of the Fabergé treasures in The Royal Collection. 

Queen Mary acquired this study of “bleeding hearts” (a flowering plant which produces elegant arching sprays of heart-shaped red and/or white blooms) in 1934. The sculpture shows a double spray of the flowers, carved in rhodonite and quartzite. Three sets of delicately-carved nephrite leaves spring from green quartzite stalks. A vase of rock crystal serves as the base. To emulate the true nature of the flowers, the blooms are suspended on gold stems, articulated en tremblant so that they can move when the piece is touched, as if they were blown by the wind.

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

Gifts of Grandeur: 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.”

Mastery of Design: Cameo portrait of Edward, Prince of Wales (later King Edward VIII)

Cameo Portrait of Edward, Prince of Wales
Henrik Wigstrom, 1911
Commissioned by King George V for Queen Mary
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Made by Fabergé workmaster Henrik Emanuel Wigström (1862-1923), this cameo dates to 1911—the year of the Coronation of King George V and Queen Mary. Carved into smoky quartz and set into a gold frame mounted with rose-cut diamonds, this cameo depicts Edward, Prince of Wales who would later be briefly known as King Edward VII (prior to the whole Abdication Kerfuffle), and then, as the Duke of Windsor.

The cameo was commissioned by King George V who gave the portrait to Queen Mary for her birthday, May 26, 1912. The piece was to commemorate the investiture of Prince Edward as Prince of Wales and Earl of Chester on July 13, 1911 (it was also his sixteenth birthday). King George V asked that his eldest son be depicted wearing the mantle that he donned for his investiture. 

The Royal Collection

We have some nifty things at our online store. For example, we’ve got designs which commemorate another event in the life of the Duke of Windsor…his controversial abdication.

Mastery of Design: The Townshend Cryptocrystalline Quartz, 1825

Golden Chalcedony Ring
The Townshend Collection at
The Victoria & Albert Museum

This nifty gem is cryptocrystalline quartz. This natural phenomenon occurs when quartz forms as a mass of microscopically small crystals. It’s also known as “microcrystalline quartz,” but I like cryptocrystalline better since it sounds spoooooooooooky.

This family of quartz includes many different gemstones such as chalcedony, agate, carnelian, jasper and sard. The colors of the stones vary slightly depending on the occurrence of different impurities such as iron, manganese and chrome.

This ring is one of the 154 gems bequeathed to the V&A by the Reverend Chauncey Hare Townshend. Like the others in the collection it was mounted in a gold setting for display purposes only. The Gothic-style gold setting dates to about 1825. So, what exactly is this stone? Well, guess what. It’s a rare example of chalcedony that isn’t the typical blue-gray color that we think of. Oddly enough, just the other day, I was having a conversation with my father about chalcedony and if it was possible for it to be any other color. I declared that I didn’t think it possible. But, I wasn’t sure, so I went digging for answers and this is the result. If, during formation, iron manganese or chrome in peculiar amounts is introduced to a cryptocrystalline gem, the color can be altered. This is a very, very rare event. But, it can happen. The result, in this case, from an introduction of iron is a chalcedony with a golden hue.

Mastery of Design: The Augsburg Box, c. 1770

Click on image to enlarge.
Jeweled Box
Germany, 1770
The Victoria & Albert Museum

A truly magnificent box dating to about 1770, this work of art is made of quartz mounted in gold and encrusted with carved and faceted stones including sapphire, pink tourmaline, white opals, garnets, marcasite, lapis lazuli, bowenite, malachite, turquoise, jasper, agate, and chalcedony.

Some of the stones have been carved in the forms of a woman, birds, flowers, foliage and insects. Made in Augsburg, Germany, the box may have been made by Heinrich Gottlob Lang (1739-1809).

Mastery of Design: The Fabergé Raspberries, c. 1900

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

Made at the turn of the Twentieth Century by Carl Fabergé, this miniature sculpture is composed of rock crystal, nephrite and rhodonite. The piece takes the form of a spray of three raspberries carved in rhodonite. Nephrite makes the two leaves while the stalk is made of red gold. The small spray issues forth from a vase of rock crystal. This charming object was purchased by Queen Alexandra 1844-1925), Consort of King Edward VII who had a penchant for Fabergé.

Mastery of Design: The Dresden Quartz Lamb, 1750

Click Image for detail.
Box of quartz, diamonds, rubies, gold and silver
Dresden, Germany
circa 1750
The Victoria & Albert Museum

This amethystine quartz box with gold mounts, brilliant-cut diamonds set in silver and rubies set in gold is one of two jeweled, sculptural sheep on exhibit at the V&A. This one was made in Dresden, Germany, circa 1750.

An object of such valuable materials was made more so for display than it was daily use, but it could have once housed some prized or precious items. Clearly, the box has avoided constant handling as it is in excellent condition. Today, the maker of the piece is unknown, but the exquisite workmanship of the object is a lasting testament to the artist’s immense skill. 

Mastery of Design: The Henry Wilson Belt Clasp, 1905

Click on image to enlarge.
Belt Clasp
Henry Wilson, 1905
The Victoria & Albert Museum

I have a special fondness for the work of the jeweler Henry Wilson (1864-1934). Wilson’s jewelry is exceptional both for its form as well as the quality of the enameling and gem selection. He tended toward interesting color combinations and chose stones with only the richest colors. Wilson, a former architect (like many jewelers of his time) designed pieces which resonated with sculptural and architectural qualities, achieving a three-dimensionality which was unknown until that point. 

This is one of the most unusual pieces of Wilson’s that I’ve seen. This silver belt clasp was made in three parts. It is set with amethysts, garnets, williamsite (a green mineral), moonstones, agate, chalcedony and cat's-eye quartz. The central piece is adorned with sprays. Dating to 1905, this clasp was made to be worn on a variety of belts. 

Mastery of Design: Mary of Modena's Diadem, 1685

Mary of Modena's Diadem
Sir John Viner, 1685
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

The Royal Goldsmith during the reign of Queen Mary II and King William III, Sir Robert Viner, 1st Baronet (1631-88) created this diadem in 1685 of gold, silver, quartz crystal, pearls, velvet and ermine.

The diadem was purchased by Queen Mary of Modena, Consort of James II, King of Great Britain (1658-1718). It is comprised of a gold circlet which comes to a peak at the front. A border of pearls adorns the piece above foliated scrolls of rose-cut quartz crystal clusters and rosettes which are mounted with gold wire. A purple velvet cap and ermine band are fitted into the circlet.

The quartz crystals that we see today were installed as replacements to the diamonds which were originally rented from a supplier for the coronation of 1685. Queen Mary II wore this, her step-mother's diadem, at the procession leading up to her own coronation on April 11, 1689, and it was worn again by Queen Anne in 1702. Some believe that it was also worn by George II's consort, Queen Caroline, in 1727, but this can’t be confirmed. The piece fell into disuse by the reign of King George III, and the quartz has remained ever since. Previously, for important occasions, diamonds were again hired and worn in place of the quartz.