A Fabergé four colour gold and guilloché enamel picture frame, workmaster: Victor Aarne, St. Petersburg, 1899-1904

of demilune form, enamelled in translucent turquoise over a sunburst ground, the oval photo set with a beaded frame and surrounded by a finely chased gold laurel leaf spray, the frame surmounted by a gold bow suspending vari-coloured floral garlands, with a mother-of-pearl back and a silver-gilt scroll strut, marked Fabergé with workmaster's initials, scratched inventory number 3370, 56 and 88 standards

Purchased by Empress Maria Fedorovna (1847-1928) on 22nd July 1900

Munich, Kunsthalle der Hypo-Kulturstiftung, Fabergé Hofjuwelier de Zaren, 5 December 1986 - 22 February 1987, cat. no. 429 
Munich, Kunsthalle der Hypo-Kulturstiftung, Fabergé-Cartier Rivalen am Zarenhof, 28 November 2003 - 12 April 2004, cat. no.  251

Géza von Habsburg, Fabergé Hofjuwelier de Zaren, Munich, 1986, pp. 227-8
Géza von Habsburg, Fabergé-Cartier Rivalen am Zarenhof, Munich, 2003, p. 227

The enamel is a little faded around the swags to the top left of the frame but in otherwise apparent good condition.
"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."

This exquisite small frame is exemplary of the high standard of the production of the workshop of Victor Aarne. The delicate chasing of the coloured golds and the intricate sun-burst engine-turning below the turquoise enamel give it a jewel-like quality. This is further enhanced by the use of mother of pearl, as opposed to the more regularly favoured ivory, for the backboard.

Among the royal families of Europe such frames were particularly favoured as presents to give to among themselves. There are a number of examples in the British Royal Collection, including a small double frame by Aarne that was purchased by Empress Maria Fedorovna in January 1901 (RCIN 40227, see Caroline de Guitaut, Fabergé in the Royal Collection, London, 2003, cat no. 201, p. 164).