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Imperial Russian Art · Pendants  · Jewelry

Fabergé Imperial Gold Lapis Lazuli with Ruby Egg Pendant by Henrik Wigström

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Imperial Russian Art · Pendants

Fabergé Imperial Gold Lapis Lazuli with Ruby Egg Pendant by Henrik Wigström

$2,500.00
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Era
Late 19th century · Early 20th century
Period
Fabergé era
Origin
Russian Empire
Maker
Henrik Wigström
Material
14K Gold · Lapis
Dimensions
20 mm (L) × 10.8 mm (W) · 0.79 × 0.43 in
Weight
3.2 g · 0.11 oz
Condition
The pendant is in excellent vintage condition—a rare and historically significant treasure for discerning collectors

We are pleased to present another exceptional item from our collection—a beautiful and highly unusual miniature gold egg pendant crafted from natural Siberian lapis lazuli with a ruby ​​accent set in gold. This exquisite piece is attributed to one of Fabergé’s most prominent and celebrated jewelers, Henrik Wigström.

Henrik Immanuel Wigström (2 October 1862 – 14 March 1923), a Finnish silver and goldsmith, was one of the most important Fabergé workmasters, alongside Michael Perkhin. Perkhin served as Fabergé’s head workmaster from 1886 until his passing in 1903, after which Wigström succeeded him. Together, they were responsible for creating nearly all Imperial Easter eggs.

This pendant bears several significant marks, including:
The workmaster’s initials are “H.W.” (Henrik Wigström).
The Imperial Russian standard gold "56"—the hallmark for gold items and the double-headed eagle - Coat of arms of Imperial Russia.

Length: 20 mm (taking into account the small suspension loop); 14.8 mm (without loops for hanging)
Width: 10.8 mm
Weight: 3.2 grams

In the last photograph, we have provided an example from a book of sketches by Henrik Wigström.

The pendant is in excellent vintage condition—a rare and historically significant treasure for discerning collectors.

Please note: Works attributed to Karl Fabergé, the Fabergé workshops and their associated workmasters, as well as other objects produced during the Imperial Russian period of the late 19th and early 20th centuries, were not originally accompanied by certificates of authenticity at the time of manufacture.

Attribution and opinions regarding authenticity are based on examination of original maker’s and assay marks, analysis of materials and workmanship, assessment of construction techniques, and comparison with documented examples published in recognized scholarly literature and archival sources. Such evaluations represent informed expert opinion in accordance with accepted practices within the field of Russian Imperial decorative arts.

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