A JEWELLED SILVER-GILT AND PICTORIAL ENAMEL CASKET, FEODOR RÜCKERT, MOSCOW, 1889-1908 |

the lid painted en plein with The Boyar Wedding Feast after Konstantin Makovsky, within a cloisonné enamel border, the sides set with rubies and emeralds, struck with maker's mark FR (Cyrillic), scratched numbers 447 and 652, 88 standard

Sotheby's New York, 30 April 2003, lot 75

Some small areas of enamel loss, in some instances to the metal, on the clasp and by the sides and corners of the top panel. Three of the emeralds are missing and the remaining emeralds are mostly chipped and scratched. The central panel with a hanful of shallow scratches and a very minor chip to the left edge of the panel, not 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."

Evoking the grandeur and romanticism of the long lost pre-Petrine era, Makovsky’s A Boyar Wedding Feast was a sensation in fin de siècle Russia. Because of the rapid changes taking place in Russian society during the reigns of Alexander III and Nicholas II, Makovsky’s history painting offered a comforting and idealised image of Russian traditions, which greatly appealed to the aristocracy.  The popularity of the painting and its appropriate subject matter made it the ideal decoration for anniversary and wedding gifts. It soon became the decorative centrepiece on the finest enamelled objects produced during this time, appearing on kovshes, trays, and vases by makers such as Rückert, Ovchinnikov, Kurlyukov, and Khlebnikov. While some of the objects produced by Ruckert present cropped versions of the painting, on this casket the painting is represented in full on the lid and elegantly framed by the surrounding enamel decoration.

The original iconic painting is a highlight of the collection at Hillwood Museum (cat. no. 51.79).