A Fabergé silver-gilt and cloisonné enamel kovsh, Moscow, 1908-1917

the oval body polychrome enamelled in neo-Russian geometric and foliate motifs on a hammered silver-gilt ground, the shaped and pierced handle similarly decorated, struck K. Fabergé in Cyrillic beneath the Imperial Warrant overstriking the maker's mark, probably that of Feodor Rückert, scratched inventory number 35936, 88 standard

Generally in very good condition. There are a small number of shallow chips to the enamel, none of which extend down to the metal.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
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 the only workmaster for cloisonné enamel in the Fabergé firm.  Born Friedrich Mauritz Rückert in Alsace-Lorraine in 1840, he came 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 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.  While the palette and design of the present lot, including the coiled cloissons seen on the handle, are typical of his work during this late period of his career, the hammered silver-gilt ground left un-enamelled is quite unusual.