A Fabergé silver-gilt and cloisonné enamel bratina, workmaster: Fedor Rückert, Moscow, 1899-1908

the bulbous bowl finely enamelled with stylised flowers and geometric ornament in muted tones, flanked by similarly decorated scroll handles, inscribed in Latin J.J.v.d.P. and dated 28/VII/1887-1912, marked K.Fabergé beneath the Imperial Warrant, with workmaster's initials and scratched inventory number 14316, 91 standard

There is a chip to the blue enamel decoration measuring approximately 0.8 mm. to the right of one of the handles and there are further minor chips to the enamel in places, which do not detract from the overall appearance of the piece. This is a very rare and attractive piece in overall good condition consistent with age.
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NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Feodor Ivanovich Rückert was born Friedrich Mauritz Rückert in Alsace-Lorraine in 1840, emigrating to Russia at the age of fourteen to work for either the Youssupov or Golitsyn family.  For thirty years, from 1887, the year in which the Moscow branch of Fabergé opened, until the Revolution in 1917, the year of his death, Rückert was the only workmaster for cloisonné enamel in the Fabergé firm.  He produced highly original works of exceptional quality in evolving styles for Fabergé, while also supplying other retailers including Kurlyukov and selling much of his production direct to the consumer.

Although of Western background, Rückert found no difficulty in employing traditional Russian forms – in particular the kovsh – and decorative motifs in his work.  By the turn of the century, the Old Russian stylistic elements of his objects were mixed with refreshing Art Nouveau devices, a natural combination as both styles were based on arabesque and foliate forms.  This later work, including the present lot, was almost certainly influenced by his son Pavel, who finished his studies at the famous Strogonov School of Technical Drawing sometime between 1906 and 1908 and then returned to work in his father's workshop, bringing new ideas and thus new motifs to the master's work. 

Sylistically, the present lot compares with the bratina, formerly in the collection of the Countess of Torby (1868-1927), morganatic wife of Grand Duke Michael Mikhailovich, illustrated G. von Habsburg, Fabergé Hofjuwelier de Zaren, Munich, 1986, no. 83, p. 134, which exhibits similar motifs and palette.