Rare Purpurine Egg Pendant with Diamonds by Anders Nevalainen, St. Petersburg, Late 19th – Early 20th Century
A charming miniature egg-shaped pendant carved from rare purpurine, the celebrated opaque glass-like material of deep ruby-red color that became closely associated with the works of Fabergé. The pendant is adorned with a delicate flower composed of three old hand-cut diamonds.
The suspension loop and pendant fitting are crafted in 56 standard rose gold. Both the small and large suspension rings bear the maker's mark A.N for Anders (Antti) Juhaninpoika Nevalainen (1858–1933), one of Fabergé's most distinguished workmasters, renowned for producing exquisite jewelry, objets de vertu, and precious miniature creations for the House of Fabergé. Also present are the 56 gold standard marks and the Cyrillic initials АР of the St. Petersburg assay inspector Alexander Romanov.
Purpurine occupies a special place in the history of Russian decorative arts. While the material itself predates Fabergé, it was the firm's master craftsmen who elevated it to prominence, employing it in some of their most desirable creations. Prized for its rich, gemstone-like appearance and remarkable depth of color, purpurine complemented gold, diamonds, enamels, and hardstones beautifully. Authentic Russian purpurine pieces are especially sought after today, as the original manufacturing technique was largely lost after the Russian Revolution.
Measurements: 18 mm high (including suspension loop) × 10.7 mm wide
Weight: 4.3 grams
An elegant and highly collectible example of Russian Imperial jewelry, combining a rare and historic material, the craftsmanship of a celebrated Fabergé workmaster, and a refined miniature form.
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.